Children's Posing Guide

Lesson 28 of 37

Shoot: Working with Motion with Destyn

 

Children's Posing Guide

Lesson 28 of 37

Shoot: Working with Motion with Destyn

 

Lesson Info

Shoot: Working with Motion with Destyn

You're back in the game all right let's try you come right here, sister right here, right like this we're gonna have you write here yet and then I'm gonna have you like this went like far out yeah like this good gorgeous with another reflector on this I will not have to worry about a diffuser I'm gonna grab the eighty five no, I've got space considerations I'm gonna hit thirty five one for if I had more room in the eighty five one for right now and we're gonna make her fashion icon that she is ready we're gonna try um let's dio yeah we'll do it just like this quick one thing we didn't talk about doing moving shots this morning but that we didn't talk about doing movement shots this morning do we want also tio okay, perfect it's a great idea already so I need you to actually so part of what one hears a trick with the reflector when you want a really great reflection but you need to be a little shoot full full size we do me a favor will you follow me and do what I say I do I do do what I...

say but I do like this and then step back about a foot and a half yet so I'm still getting all that bounds but I don't have to worry about a reflector in the shot all right, so first I'm gonna try this and then we're gonna be I'm gonna kick it all the way down teo to eight I'm gonna shoot low so when I'm shooting low you have to leave forward a lot yeah like this and then do me a favor swing your arms back and forth to get him ready yeah, like actually go like this get ready yeah hold on a second and then face that way. Good. Very good. Hold on a second. No, wait not good. That wasn't you. That was me. I was completely at the earlier settings that something I find happens a lot. I'm jumping again. I'm interact with the kids and I've gotta adjust the settings quick. Um all right, wait a minute. We're back to back to good. You ready? Do that again. What you just did shake, shake, shake back, fuck matter her lovely, much better, much better and let me show that here I have to play for them to be able to see it, but I want you to see it to see that right there. Really fun. All right, we're gonna have you do some movement, we're ready for that. All right? The easiest way for her to do movement isn't some sort of even shade because otherwise she'll move all like it was like the bedroom scene but they could move like crazy but they're gonna move in and out of contrast you lighten I do not want that so we're gonna try to do some sort of protected you tell me if you see it you're gonna move in here this is your moving spot I'm sorry we're gonna have to have removed right here. All right, so I want you d'oh because this is the most protected area. We're not gonna worry about having a reflector I'm gonna shoot this with twenty four stab because I've got a ton of movement going on and I'm gonna have you like this let's have you do this? Okay? All right. The only change is when you do that when you jeff up and this is crazy yeah, jeff up. So you look right out there like yeah, all right, I'm going back twenty four, seventy on doing it. I've got a lot of bright open mike, thank you so much. Uh, I've got a lot of bright open light. Uh, I've got tio due to other things here, all right? And I'm gonna also, uh, make my quote you okay over there? I'm also gonna make sure my field of focus is extended so that I can get more of her emotion I don't mind if that curtain flies in while you're jumping that's totally cool and I'm gonna reset myself to be it three two I'm gonna go low and wide we're gonna we're gonna show the whole scene just for the fun of it and I'm and I'm at a um I saw three twenty and er shutter speed of one twenty five five one, twenty five hundred all right, there you are you are you ready for your scene? I'm gonna do an establishing shot hurt getting ready for scene and check my focus what I find is I want to boost my eyes so I'm gonna go I'm gonna boost that teo six okay, so now my settings are at exactly I so six forty shutter speed of one over twenty five hundred and a four five f stop and she's going to make things happen we do me a favor and scooch back a little bit jodie lose huge back just go and grab them with you just cause you so a bit of a wider shop yep. All right, here we go let's see you in action. I'm gonna do this first one single shot and then could you pull that cord a little kick that court out a little bit too just so she doesn't ship on it we really don't want you to come down and tangled in the cord all right, here we go one two very nice all right so because of the angle I'm gonna go like this I'm gonna ask you to do it again yep um because I just changed where I am in relation to the light I then have to adjust the settings it's gonna be brighter from this side then it was from that side all right and then when you jump up this time just look straight at the sky all right? One two, three yes, very nice. Oh, I like that that's a motion that is emotion and then I'm gonna dio kind of a faster um get grabbed where I do that was all single shot um this time it's gonna be funky do the same thing but look right towards me want to go? Yeah uh very nice uh I'm gonna show that they're not that's the one very good any questions? Okay, I think we're getting just how are you focusing? Um those shots? Well, I'm having a little bit of a distance from her. I'm shooting at four five which gives me room to play um I am stepping back from a uh extended feel to focus and I'm zooming in right now so people can see it so you can see the focus on her face so the only thing that would make this shot better is to shoot and even light at a really great time today uh, which I would normally do yeah and we're golden were good fan test one with your hair down while we're going out we're going to get one with flowing as we leave you pull it out you pull it out so you don't get mad at me you pull it up I'm gonna just do one funky being with her hair oh quick I want you to go like this and this there were requests for that because people on the internet love your hair beautiful okay so we're gonna try have go ahead step forward here yeah I'm gonna shoot this angle let's try back just don't her huh hair get it and then you're gonna go okay let brett and guilt do that one more time I loved it hold out all on wait for it uh let's grab a reflector on this now she's not new moving her whole physical body and I can keep her relatively maintain a controlled that's really cute because I can keep her pretty controlled I want I want enhance the shot so if you know something that again get the shot you can get and fix it make it better right so yeah that's um good ref landon alright already do it again hold on you make sure your chin down just here yes okay let's do it one to go very nice and on that one I just played with it I threw it on the rapid fire and I just let her go. So, but you can see that here is just stunning. I love that look at that. You see, that way we get a nice cliffs, crisp, clean shot. Um, just kinda jumping back like that. Thank you very much. Thank you so much. Thanks for showing up and showing a beautifully. I don't think I could have gotten a better lesson on thinking on the fly and predictable circumstances, and we just all came together was great.

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!