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Lifestyle Family Photography

Lesson 6 of 31

Pricing for Lifestyle Photography Sessions


Lifestyle Family Photography

Lesson 6 of 31

Pricing for Lifestyle Photography Sessions


Lesson Info

Pricing for Lifestyle Photography Sessions

Pricing. Now, there is not one pricing structure that is gonna work best for everybody as we know. So, wanna talk to you guys about kind of what I've already tried, what I know works, what I know doesn't work, and kind of where I've ended up after all of these years. When I first stared photography... This is gonna pertain to all of you guys that are new. You have your portfolio-building year, and that's when you do not charge, okay? You don't charge during your portfolio-building year because you're not making any promises to those clients. But they're not clients, they friends, okay? And that is okay. We all have portfolio-building years. Once that's done. Once you feel like your work is at a place where you can charge for it, a lot of people will charge flat rate with their digital files, and that's kind of a common thing to do. I know it's frowned upon because the whole mom with a camera thing is frowned upon. But in real life, that's what most of us are, or dad with a camera. And ...

that's okay. Don't let the photography society make intro people feel badly, because you need to price where you're comfortable when you start. That's okay. I know people out there are probably, "No, don't do it." I think it's okay. I mean, I don't know, I'm fine with that. Once you are better than the intro level type of photographer, jack your prices up. When you go in baby steps, you don't ever really change your clients. All you do is kinda make your clients mad that you went up in price. So once you're ready to go from intro photographer, "I like doing this on the side, I'm a hobbyist," to full-time photographer, that's the time where you jump. So just to give you an example, and I can talk about this because this was six years ago. I was in Chicago and I was charging zero at the beginning for the first three months. It took me three months to portfolio build, and to practice to learn my camera. I took an intro camera class from the amazing Amy Tripple in Downers Grove in Chicago. She like me as very happy and peppy, and we just kind of connected, and I decided, "I wanna be you "because I just kind of love you." So, I learned my camera well. You guys all know her. I learned my camera really, really well. And then once I was comfortable in manual mode, then I started shooting my friend's clients, built my portfolio, then I started charging. I charged $250, and I gave them all of their edited files. Now keep in mind, obviously that's not a lot, but a lot of you guys are there who are just starting. It would take me 15 hours to edit a shoot because I was learning how to use Photoshop. I didn't use Lightroom because that was something else I didn't wanna have to learn. This is normal. Just know that we all started here. We didn't all go to amazing photography school, although I wished I would've, to be a photographer. It's okay to start like this. And then after a few months, I was booking 40 sessions a month and I'm like, "This is ridiculous." I can't handle this, because that was a lot, especially when it was taking me so long to edit because I was still learning Photoshop. So, a good friend told me, "Emily, you need to raise your prices "because you're too overbooked." When you're overbooked, you need to work smarter. So I raised my pricing to $100 session fee and $900 digital files. So I went from, in six months, from $ to $1,000. And guess what. 60% of my clients stayed I'd say because they valued my work. And those are the clients that you guys all want. You want the clients that value your work and your time. Because we all know, as you saw on all these slides, there's a lot of preparation that goes into this, and there's a lot of overhead, your camera equipment. You need to value your time. When you break out hourly, what you're making, it's not very much. When you're editing... I mean I don't edit 15 hours anymore. But back then, when I was still learning, you have to break it out hourly what you're gonna make. And now I'm up to where I should be, but here's kind of what I used to do. I used to have canvases, and prints, and books, and, like, mugs, not really. You can offer everything under the sun, and have these flip books of all these gorgeous products and gorgeous products. And it's so overwhelming, it's just too much. I used to dread when I'd have to place these order because it took so long. They weren't products that weren't gonna showcase my work in a beautiful way. So, I backed away from products, not because anybody told me to. It's because it was what was right for me. I didn't have time to be sitting there and making crazy collages for pictures. Some people want those crazy collage things which I stay away from. People would ask, it's just you have to do what is right for you. Okay, now. Where I'm at now with pricing. I sell ala carte prints, which are priced accordingly to what I need to make to sustain my business. I sell canvases, which I stay away from, because I think that they can be a little bit dated, depending on where they're gonna go in the home, because you have to charge quite a bit for them in order to make your overhead work, right? Some clients will get a large canvas and it's beautiful. It's not right for every session, I don't think. I do books, so the lower-end books, like kind of the softcover books, and there's tons of labs that offer these. There's not one that's necessarily better than the other. It's what your style is. And those are awesome for my lifestyle sessions, because more frequently than not, I promise 60 to 75 images. In reality, I edit about in about two hours, not even, an hour and a half maybe. I edit about 150 images. And that to me, with life style. The thing with lifestyle is you have these in between moments, right? The shot of the freckles, the shot of the eyelashes, the shot of the teeth, the shot of... I think we have an oops coming up where the kid fell off the bet. It was hilarious. They thought it was funny. I was relieved. All those funny moments kinda go into the book, all of that. Because there's no way with a lifestyle session, when you're capturing so many different types of images that they can pick, one, two, three or four beautiful portraits. Keep in mind, again, like we talked about, this is not portrait work. This is connection work. So that's that. So I sell those softcover books. I sell hardcover albums like the Lex Albums. I tend to sell those with my sunset shoots or with new newborns essentially. I don't recommend, unless clients have a lot of money they wanna spend, because those albums are really expensive as a photographer to get. So you have to charge a decent amount to make up for the time that it takes to make an album. So I kind of push those more for newborns. I have a few clients that love them for the lifestyle sessions, but it depends on the client. The biggest thing is I do sell my digitals, and there's two trains of thoughts. The old school photographers do the big beautiful prints, and frown upon the digital sale. Then there's kinda the new train of thought that sell your digital so your clients can have all of these to remember. With the way I shoot, I have to sell my digitals, because 99.99% of the time, they want their digitals. Now, here's my goal as a photographer. Okay, so I want you to be able to buy your digitals, and that's typically what I... When Kenny and I are looking at our reports for the month, what we need to make per client, what do we expect that each client is gonna get? And then we almost always say they're gonna get their digital files at a minimum. And that's because the majority of my clients can't pick because they love all of them. And that's the goal that you wanna get to, is where your clients love all of these images. However, you also want your work on their wall. So how do we do that? Okay, and we're gonna talk about that, because there is nothing better than a beautiful professional print, obviously. And you need to have examples of all of that to show to your clients. Keep it simple. Tell them multiple times your pricing information. This is critical. I cannot tell you this enough. The amazing Heidi Hope told me this years ago. She said, "Emily," because her husband works with her in her business, and they have a wonderful business. I reached out to her and asking her for help. Please do that. If you guys wanna reach out to me, I'm happy to talk to people. But if you're thinking about making the move of bringing your husband on to run the business when you get to that point, or your wife, or a family member or somebody. I reached out to her, and one of the things she told me was, "Emily, you need to make sure "that you tell your clients the pricing when they inquire, "the pricing when they sign your contract, "the pricing when you guys are talking." Like, "Oh, remember "Are you gonna want your digitals?" Kinda bring it up again, because what happens is people get so excited to book a lifestyle session that you're now offering because you've done your portfolio building, you've convinced them it's the best way to go, that they're deaf to the pricing information and they just book. And then what happens come ordering time? Wait, how much are your digitals? Right? Remember we went over this like six times? So you have to make sure that you do that with your... Because it's hard. You get in a moment and people get excited about their shoot and you're excited about their shoot. So just remember to do that. Offer your digitals. If you're gonna be a lifestyle photographer, I think it's very important to offer digital files, whether you're an all inclusive photographer or whether you wanna do it separately. I choose to do mine separately because I wanna offer collections. I don't want people to feel like they just have to get their digitals. The majority of my clients get the middle package we'll talk about this in a second when I pull my packages up. So talk to your clients. When you're going over pricing about all of these options, say, "Hey, I've got... "This is what I personally have, and we'll turn it. "I have my digitals, and we have this, and we have this, "and we have this." Show them examples. Show them why they may want this later on. Some clients don't want their digitals. Some people just book you and they want an album. That's fine. Not every sale is gonna be the same, and you have to kind of keep that in mind when you're figuring out your monthly goals and what you have to sustain. We have a pretty decent-sized studio, so we have some high goals, right? So we have to book enough to sustain the goals. Okay, so let's go ahead and go to the next. Do we have any questions yet? We have a question from Holly in Cincinnati who said, "What would you do if a client decided "that they don't like the photos enough "to purchase your $600 minimum in product? "has that happened?" It hasn't but... It's so hard because it'll totally hurt your feelings, it's like you're really bad. That's why you have contracts and you just hope that doesn't happen, and you don't charge that until you're ready and your work can sustain that price. So, I feel like that's not gonna typically happen, unless you have something occur, like a meltdown. And I have had clients where we've had sessions that the child. We just had one. I think it was just a little bit ago. The kid was crying the whole time, like sick. I always want people to reschedule if their kids are sick. Nobody wants to do that when they're sick, that's silly. You wanna make sure that... Let them reschedule. Everybody has a bad session, and I've had them and reschedule them. It's not because they didn't like their images, but I knew, I knew. There are some times when the kid just scream on the floor the whole time. We all have bad days, especially two-year-olds. It's hard being a two-year-old. We just reschedule those. But I think that as long as your work can kind of, the quality of work can sustain your pricing, you won't run into that. That's just my opinion. So, say you went to a client's home and you did have a meltdown and they've already paid and everything, you would still then reschedule it, no cost to the client? For me, they pay their session fee, and they don't pick anything until they see their images. I would absolutely reschedule it at no cost to them. I mean, now, I do know photographers that wouldn't. I have a hard time of saying no, but I think that in sustainability for your business, the more flexible you can be and the more relatable. Have some empathy because we've all had the crying kid on the airplane, and you just empathize with that mom so bad, like on the way here. You just feel so bad. And that doesn't happen frequently enough where it's gonna really impact your schedule. Then I think yes, 100%, I do. And my clients appreciate it. I become close with all my clients because of that, because I empathize with things that can go wrong because I'm a mom. I get it. There's not reason to be a diva, right? I wanna show you the collections that work for me. Now, keep in mind I'm not gonna show pricing up here because it depends upon your market, right? However, this is exactly what we offer. The very first package that we have, this is who it's set up. We have page of ala carte pricing, so all of your prints for al carte. Page two is our digital collection, which is x, y, and z. Then we have three collections. Our first collection has 10 digital images. Because sometimes people, especially for the smaller shoots, like the newborn shoots, sometimes they're really, really stretching to get a session with you and they can afford this, and that's fine. Because we've done our plan, we can equate for those smaller sales. So the people that wanna book, get that first collection, 10 digital images, and a $250 print credit, or whatever print credit you wanna have it as. Okay. Now, the second one. So that way they get some digitals and they get a print, and everybody goes away happy. The second package, I'd say we sell it probably about 80% of the time pretty decently, is they get all of their digital images plus a chunk of, to spend on prints, right? A print credit. And I'd say that we sell them a lot. I used to do it where I was like you get four 11 by 14s and 160... Nobody wants to be told what size to put on their wall. I don't know why I didn't think that when I was doing it, because nobody was getting those collections. The minute I switched it over to a print credit, it gives them the right to choose. And then if they go over that print credit, then I give them 20% off any additional prints. That price is above my digital package, but bellow the highest package. So the highest package, then what I do is I add in an album. So the families that really wanna splurge will get that one. And I'd say I sell that about 10% of the time. That's the one you want to sell because you want your work on their wall. You want them to show their images digitally and those albums are gorgeous, the high end albums, with the looks, everything. And they're beautiful. And so that's the one you strive for. But my goal, I'd say most people buy that middle collection. I have a question from online who is asking are your digital files full resolution or are they resized for social media? And she says, "I'm finding myself overwhelmed "with the retouch process, "and I think I may need to get away "from actually delivering the digitals." So, I batch edit. I shoot in a way that I have certain situations, certain lighting situations where we can edit 40 images at one time. Batch it, and not have to worry touching skin up and all that kind of stuff, because we don't do that for lifestyle sessions. So, I only offer full res. Because the half res, who has time to do that? I don't. And the people will blow it up anyways, and then I will look yucky. And then somebody will cover and complain, "Who did your pictures? "It looks kinda blurry." You don't want that. So if a client has an add on, so say they did the post-newborn plus the lifestyle, the mini that you offer, does it all fall into the same, like they can share the collection, or is it two separate ones? So, when we do the lifestyle add-on, that includes 10 edited digital files. And if they wanted me to edit more, then what I do is add those to those final gallery. If they get their digitals from their newborn session, they get all of them. That's how I do that. It's been kind of a balance, does that makes sense? Okay. Alright, more questions from online about packages and pricing. Tailor Clement ask do you put a watermark on your images delivering them or an add-on to that? I use ShootProof for that. Yeah, I use ShootProof. So, ShootProof puts up the watermark. And is it just on obviously on social media your website, but when you deliver the files to the client. No, no, no. They get their rights. Okay. And another question is about the print credit. This is from Sonya an Katherine. They're new and they're not exactly sure again what you mean by the print credit as part of your collection. So, a print credit means say you give them a $500 print credit. You have $500 to buy any images from the ala carte section of prints, essentially. So, you have $500 to spend on prints or canvases. It does not go towards books or albums, because those are obviously a lot of expensive for a photographer to get. Okay, great. And then the question is, in what package do you offer... Do you have softcover albums? Are there different types of albums that you use? Softcover albums within the package. Just the nice ones, yeah. And how are you delivering sort of these options to everybody? I know that sometimes the client might get overwhelmed in terms of I don't know what to choose. Are you going over those things in advance of like you're shooting for these particular types of end products, or do you have like a printed things that they get? Is it all on your website? How does that work? This is all the pricing guide that we send over when they book. In the questionnaire that we're gonna go over here in a minute, it's on there, where do you plan on putting these images in an album on your wall. So then I shoot for what the client wants. Then we have them come into the studio and we do the ordering session there, but they've already seen their images. I let them look over them for about two days. I know they say that hurt sales, but I'm not a high pressure person. I want people to get what they want, not what I want them to get, just because that's the type of photographer I am. I know there's no right or wrong for any... That's just me. I want them to have time to kind of process it, especially when I do a shoot that has that many images. So I send them over on ShootProof, and then they look over them all, and then they send me these emails and text with I love you messages. It's fun, and I become friends with them. And then they come and we, we do the ordering session. And I find that when we do the clients for the ordering session, they're more than likely to get products. When I do the clients that don't do ordering session, they are less likely to get a product. Just in-person sales really does push bigger sales. But I know which clients are gonna wanna invest more than others, because some clients save up, and they're only able to spend this much. And you know what, that's fine. Don't make them feel bad. Don't pressure them. Not everybody is for everybody. So then are your sales sessions or ordering sessions, is that optional for it to be in person? Yes, and it's funny because I started it as, when we built the new studio, that we were gonna have all in-person sales. But some clients just say, "I want package three. "I want the album, I want this, I want this." I'm like, "Okay, we don't need the sales session. "We're fine." And then some clients say, and we give them the option, "Oh, my gosh I love all of them. "I'm not sure which ones are gonna print the best." I'm like, "Come in, let's do this." It is very client-based. And I would say 75% of my clients wanna come in and look at it with me and want my help. And for people who maybe are just starting out, maybe they don't have a great space to do those ordering sessions, would you go back to the client's home? Would you do coffee shop? What would you recommend for those people? It depends on the client. A lot of clients want you to come into their home because can walk around the house and be like, "Hey, there's an empty wall. "that looks like it really needs a couple prints "to fill it up." So that kinda helps in their home, or you can go to a coffee shop, whatever. I used to go to client's homes when I did it, because it helps them visualize where things are gonna go. That's great. I have a question about the 10 edited digital files that are in your basic collection. In that package that includes the 10 edited image files, are they picking the 10 that they want out of all of the edited files? Yes. So I edit everything and then they pick their favorite 10. Are you gonna talk about the different places where you do get your work printed? We can. There's a lot of labs. There are. Yeah, you know it's kind of... There's different styles. There's some that are the more earthy ones, and then some that are the more standard ones. You mentioned ShootProof. A question that come in about what do you use for online gallery. Can you tell us a little bit about what you use ShootProof for? So I use ShootProof just for the viewing purpose. I used to use it for sales because they do have an option in there. The clients can purchase their own prints and digitals in there. But since we have moved over to Iris, we do have all of our... We keep track of invoices and stuff within Iris, which is easier now. And Iris is working on actually something with ShootProof right now, so they're gonna be... Because they're always growing. We just do the viewing there. So on the packages, it's not going from the most expensive to the least expensive when you list it. Well, really when we do it, we have it left to right. This is just for here. It's not the most expensive to the least expensive. You know, I did that for a while, and then sometimes people's eyes were going right there and being like, "Sorry, we're out." So I'm like, "What if I flip it back?" So I flipped it back and I found the conversion rate was a little bit better for bookings, because they know there's an option besides that expensive package. Again, whatever works for you. I have it left to right. So I have digitals, and then the three collections. Now, I used to have it, the three collections in digitals, and then I found that people are like, "Do you offer just your digitals?" People weren't seeing it. Your eye naturally goes to what's first. So that can be scary I think if you. There's a lot of train of thoughts. Put the biggest one first and then they're gonna leave the scene. A lot of psychology behind the whole thing. So on that, is there a certain spread that you're separating them in price, or is it more the package that they want? So it's like do they really want these items in the package or are you spreading things apart by $500 or so on? So I'm spreading them out. Let's just give up a number. So like 10 images and then you get a $250 print credit for this one. Then the next one is all of your digital images plus a $500 print credit. And then the third one is all of your images saved plus a $500 print credit, you always add one thing, plus the album. We try to up the print credit on the third one and it was too much. People don't need that many prints. They wanted the album, some prints, and all of their digitals. So, do you offer extra digitals in your ala cartes, or is it only prints? Only prints We do not sell one individual digital image, unless it's for newborn. We'll do that sometimes, because I just edit too many and then people will say, "Oh, I want 16, instead of the 10." That's too crazy, I'm simple. Keep it easy. From Escrouse, do you have a maximum number of images that you would put in front of the client? I know I should, but there are some there just like really good sessions, and they will end up with 200 images. I'm like, "How do I pick these? "I can't." So, I let them all. It doesn't take me too much longer to batch edit them anymore. So, the way I edit, I've got it down pretty efficiently. Back in the day, I used to only edit when I was hand editing, I don't do that anymore. I shoot for how I want it to look, so it's a little bit different now that I've kind of... I shoot in JPEG. Yeah. And I shoot in Kelvin. I get the looks that I want straight out of the camera. It makes it easier. Which is awesome. Yeah. Finding all the efficiencies that work for you in your business. So, it's great. I used to shoot raw and I got lazy and switched to JPEG, and I like the look now. I'm not finding myself fixing white balance. I don't recommend that for new photographers. A lot of people will shoot JPEG plus raw, that's good idea, until you master your white balance.

Class Description

  • Capture authentic lifestyle family images
  • Plan for a successful lifestyle session
  • Create genuine interactions even with the littlest family members -- and pets
  • Edit for beautiful skin tones and stunning portraits
  • Build a successful lifestyle photography business


If you're looking for a portrait photography class to master studio lighting and perfect posing -- this isn't the class for you. Ditch the stiff, boring portraits and create genuine smiles and real family moments in Lifestyle Family Photography with Emily Lucarz. Learn how to create memorable images of real family moments.

From planning the shoot to post-processing in Adobe Lightroom and Photoshop, dive into the world of lifestyle photography. Learn how to tour a home while looking for light sources, then use window light for bright, beautiful images. Gain techniques to create genuine smiles from kids. Determine the gear you need, from great portrait lenses to cameras.

Whether you simply want to take better photos of your own kids or you want to build a career in lifestyle photography, this class provides the foundation. Learn lifestyle portrait photography alongside one of the Midwest's most in-demand family photographers, the engaging and fun Emily Lucarz.

For photographers turning a passion for family photography into a business, gain valuable insight into creating portrait packages, setting prices, and displaying your work. Learn how to build your portfolio and how to manage a photography business.

  • Budding photographers ready to turn a passion into a profession
  • Parents that want to capture better images of the everyday moments
  • Professional photographers ready to do more with lifestyle images


Like many family photographers, Emily got started after her first son was born. Now nearly a decade later, Emily is one of the top family photographers in the Midwest -- booking often nearly a year in advance. She's known for the way she works with young kids and families to create genuine interactions, along with capturing fun perspectives. Emily's charisma and easy-going teaching style has allowed her to lead workshops across the U.S. Learn from Emily right where you're at in one of CreativeLive's top-rated lifestyle classes.


  1. Class Introduction

    Learn what to expect in this class in this quick intro lesson. Get to know your instructor and dig into why authenticity -- and lifestyle portrait photography -- matters.

  2. What is Lifestyle Family Photography?

    An easier way to think of lifestyle photography is life-inspired photography, Emily says. Dig into what lifestyle family photography is, why it matters to the client, and why the genre is beneficial to you, as the photographer.

  3. How to Get Started in Lifestyle Photography

    Photography's which-came-first-the-chicken-or-egg question is this: How do I get started if I don't have any images in my portfolio? Emily walks through the essentials to getting started in this must-watch lesson for beginners. Learn when it's okay to use photos of your own kids, the best ways to practice, and why you don't need a Pinterest-worthy home to create great lifestyle images.

  4. How to Market to Your Ideal Client

    How can you market your work? In this lesson, Emily goes through different marketing options, starting with your portfolio. But, don't just market to anyone, learn how to market to your ideal client. Dive into putting out model calls to build your portfolio, and creating the type of work to attract the ideal client.

  5. How to Book Your First Client

    Happy clients start with realistic expectations. Emily walks through how to set those expectations from the start -- the booking process. Walk through what Emily tells her clients at the booking process. Then, go through the process, from that first client email to add-on sessions.

  6. Pricing for Lifestyle Photography Sessions

    Tackle the dreaded price list. Learn what works and what doesn't without making those mistakes yourself by following Emily's pricing guide. Find out where to set your prices, and when to raise your prices.

  7. Steps to Book a Client Using Iris Works

    Managing lots of clients takes time and organization -- learn how to use studio management software Iris Works to help manage the workload. Walk through the process of using the software to book new clients and keep track of new leads.

  8. The Client Questionnaire

    Every family is different. The client questionnaire helps you walk into that family's home prepared to work with that particular family. From learning what that family likes to determining the best time to schedule the session, dive into the essential client questionnaire.

  9. Why Use a Family Guide?

    Spend less time warding off frequently asked questions and more time ensuring the session starts off on the right foot by using a family guide. Learn why the guide is essential and what to include. A sample guide is also included in the class' bonus materials.

  10. Live Shoot: Family In-Studio

    In the first live photo shoot, go behind-the-scenes for environmental portraits in the studio with a family, using soft light from a window. From working with young kids to creating genuine interaction between siblings, gain valuable insight into the process of capturing authentic lifestyle portrait photography.

  11. Live Shoot: Introduce Fun Activity

    Introducing a fun activity creates authentic smiles and interactions. In this live shoot, watch Emily create a feather-filled pillow fight in the studio. Learn how to plan ahead for a fun activity -- and how to get a sharp focus when there are feathers flying in the air.

  12. Image Culling Process in Bridge

    Go from shoot to cull in this lesson using Adobe Bridge. After the live session, sort through all the photos and pick the keepers. Learn what to look for when choosing which photos to edit -- and the easiest way to sort through all those images.

  13. Gear Recommendations for Shoots

    Dive into camera settings for lifestyle portrait photography in this lesson, including ISO and shutter speed, along with using a wide aperture to create a shallow depth of field. Then, jump into camera gear, including cameras and lenses. Learn why a fast, wide-angle lens is often great for lifestyle portraits and what focal lengths for prime lenses are best.

  14. Tips to Create Authentic Shooting Sessions

    Jump into lifestyle portrait photography tips to create authentic images. From letting go of perfection to arriving early, pick up on essential tips to create a fun session with great images.

  15. Plan an In-Home Shooting Session

    Going into an unknown location -- someone's home -- and getting great shots requires planning. Walk through the process of planning a lifestyle portrait session and learn what to plan ahead of time. From deciding what rooms to shoot in, to talking to clients about clutter, learn the essentials to planning for a successful session.

  16. Activity Tips for In-Home Shoots

    Planning a family activity helps create that genuine interaction. Generate some ideas for in-home activities, then learn how to tailor those activities to that particular family instead of creating a cookie-cutter formula.

  17. Develop Your In-Home Session Flow

    What happens when during a lifestyle portrait photography session? Learn how to get started with your session and how to keep the session moving. Read through Emily's shot list to build your own.

  18. Live Shoot: Find In-Home Natural Light

    Evaluate a home for the first time by walking through the home with Emily as she plans where to shoot in the session, eliminating the locations with harsh light. Learn how to work with natural light instead of artificial portrait lighting by considering what direction the windows are facing -- and turning off all the lights.

  19. Live Shoot: Engaging Children in Fun Activities

    Watch a live shoot as Emily interacts with the youngest clients. Learn how to keep the shoot moving by introducing several short activities that create genuine smiles and interactions between siblings.

  20. Live Shoot: Introduce In-Home Activities to Shoot

    After introducing fun activities with the just the kids, create interactions among the entire family with this live shoot. Follow Emily as she works with the family in the master bedroom for some snuggly family portraits, from lens choice to composition. Learn how to work with the family together -- including the dog -- as well as how to create one-on-one images.

  21. Live Shoot: Implement In-Home Shooting Flow

    Flow keeps the session moving and the family from getting bored -- which is especially important with any families with young kids. Go through the essential shot list and then dig into the last live shoot, working with the family in the living room. Then, examine the images from the live shoot, from colorful compositions to emotional black and white, to see the results.

  22. Tips for Engaging Clients

    Engagement is key in lifestyle portrait photography. Gain valuable tips for creating that engagement, beyond the live shoots. From the details to look for ways to build that engagement, this lesson contains valuable lifestyle portrait photography tips.

  23. Photoshop: Edit Live Shoot Images

    Getting the shot is far from the last step. Learn lifestyle portrait post-processing using Adobe Photoshop. From perfecting skin tones to eliminating color casts, watch essential editing techniques for polishing lifestyle images while maintaining that natural look.

  24. Lightroom: Edit Live Shoot Images

    Moving that post-processing into Adobe Lightroom, many of the ideas are the same -- but where all those tools are located may be a bit different. Learn basic Lightroom edits using curves, HSL and more.

  25. The Importance of Photo Composition

    Composition keeps the viewer's eye on the subject -- and it's essential when working with an in-home session to eliminate distractions. Build compositional techniques like negative space, leading lines, texture, and juxtaposition into your lifestyle portrait photography.

  26. Get Clients to Connect Naturally In Photos

    Lifestyle photography prioritizes natural connection over getting every detail perfect. Explore techniques for creating a natural connection in the images, from connecting with kids to developing a relationship with the parents.

  27. Example: Successful Family Shoot

    Go beyond the live shoots and walk through the results of this real-life session. From preparation to the results, take a look a full lifestyle family portrait session and everything that went into making those images.

  28. Example: Perspective in Shoots

    Perspective carries power in portraits. Learn how perspective changes an image -- and how to quickly decide during the shoot what perspective to use. From capturing that close-up to shooting from a tall angle, dig into how perspective plays a role in lifestyle portraits.

  29. Incorporating Pets Into Family Photos

    The four-legged family members were often the families first "kids" -- and are important to the session. Gain valuable insight into working with different types of pets in a lifestyle family session.

  30. Sales Techniques That Work

    With the session finished, how do you maximize the income potential by selling prints? Find valuable insight into easy, actionable sales tips for lifestyle portrait photographers.

  31. Sellable Products and Packages

    Build a pricing list for lifestyle portrait packages. Learn why your middle package is often the best seller and how to build the best packages for your business.



Emily reignited my passion for lifestyle photography and gave me the tools that I needed to give my business a creative and profitable boost. Seeing how effortlessly she interacted with families and the efficiency of her workflow was inspiring. I'm excited to shake things up and make some positive changes in my business that I know will lead to success. Thank you Emily and thank you Creativelive for this fun and informative class!


Watching Emily on CL - I rarely comment, but wanted to pop in and say what a great class it is! Full of helpful information and good content. One of the first classes that moves at a perfect pace, keeping things interesting & engaging. I tend to lose interest quickly when classes drag, but she really does such a fantastic job, which is refreshing. Makes watching the class really enjoyable! Thank you!


I was just hoping on here to post how much I loved this class. I used to be a portrait photographer, veered away for a bit to focus on more conceptual art photography but i still am interested in lifestyle photography. Emily is very inspiring, her bubbly personality was a joy to watch how she interacts with families especially the kids. Her work is phenomenal! (in response to one of the bad reviews, about her cutting off children shooting on a live workshop while tethered and teaching can easily explain this away as you can tell from her portfolio that she always has compositionly beautiful images) This class has renewed and inspired my love of lifestyle and i have been shooting so much since the class! Definitely used her tips and tricks to improve my pictures! highly recommend this class!