In-Home Shoot: Family with Newborn
The shot list. We're gonna go ahead and go over shot lists for family, mom, dad, sibling, dogs, and creative shots. Okay, so we're gonna show the next video. We're gonna actually probably get the dog shot on his bed. Let's get the whole family piled in here for one shot with the dog. Then we're gonna head into his room because there's more light.
No shit there's more light. There's softer light.
We can take the collar off if you don't like it.
That is up to you. It depends if you want it or not.
That's fine, either way.
We're okay now in here. That's fine. We're gonna leave... Okay. Alright, I'm just gonna... We don't need, I'm just gonna see what happens again. I think that's still too bright over here, isn't it? Yeah. Yeah, we're just gonna leave the one. Okay, everybody pile up, and the puppy. Does this easily come out of the window?
Would you mind if we took it out? That'll give us some light coming from this direction. Sorry, is that okay? Hey look a...
t that, it fills up the light a little bit. We had a little bit of a dark shadow. Perfect, there we go. We should have done that a long time ago. Alright, everybody pile up on the couch. Dog included.
Come on Kona.
Kona let's go over here.
It's hard for me not to teach as I'm watching this.
She wants to sit by Daddy?
Yeah of course.
Have him lay on your lap if you can.
Come here. Lay down right here.
Oh my gosh what a good puppy. Alright climb up there by Mommy, honey. Go by Mommy.
This is the one time it's okay.
Go by Mommy. There we go. Everybody hug. Everybody snuggle. Kona. Kona. Don't look at me until I tell ya. Dads are always the lookers. That is so, can you pull the baby's head up a little for me? Kona, Kona. Alright. Here, come here you. We're losing ya. Here sit right there for me. Snuggle your sister. Right there. Okay, ready? Everybody look at the baby. Kona. Kona, Kona. Okay. What's over here? Come on, what's over here? There we go, everybody look at the baby. Call Kona, Mom, and then keep looking at the baby for me. (whistles) (shutter clicks) Look at your sister. What's on her head? A butterfly? Is there a butterfly?
Look over here.
Look at your sister.
Oh are you smelling my head?
Hey look at your sister.
Does she have a little milk on her.
Hey can you look at Daddy? Daddy's gonna make a silly face. Look at Daddy.
Cabe look at my silly face.
Hey Cabe, Cabe, guess what. Does Daddy have ice cream on his nose? Does Daddy have ice cream on his nose? Look! Look at Daddy! (laughs) Cute. Okay, good job. Alright I want to get, right there, stay right there for me. (shutter clicks) Mkay can you look at your sister for me? What's on her head? What's on her head? That way.
There you go, look at her.
There we go. Everybody look at the baby. Kona. We're good. Alright, perfect. Okay, we're gonna get Kona with, first baby shot. (laughs) That was funny right? What a good puppy. Such a good puppy. Okay I want to talk about a few things about that. Here's some images, and you're gonna see some. We don't see the whole video of all of these things happening. You can see there's one shot from that segment, okay. These other ones were done in the bedroom, which we'll see in a little bit, but that dog was amazing. So as you guys saw, I made them move the antenna out of the window because what was happening we were completely back lit, and that's the only spot in the house that I was able to fit the family on besides the bed with the son's bed. So I wanted to show you guys some ideas for that, okay. So there was a tiny little window so I popped out the satellite sticky thing on the window and it worked perfectly, okay. This is a typical interaction with a family. He was two, okay. As you saw he was counting his fingers for life because he's just learned how to count. Right? So what else are you gonna do as a two year old but count your fingers when you learn how to count? Okay, I have never told so many white lies in my life until I became a photographer. There's ice cream on your head. There's a butterfly on your nose, and I feel kind of bad about it, but it works, and they look, and then they forget. Okay? So it worked. What I want to say about this, you kept hearing me call the dog. The dog was like looking off into space, and the family was already interacting, okay. They were all interacting. Nobody was looking at me. The dog was the one that was looking randomly at the film crew, okay. So I needed the dog to look at me. I chose that the dog was gonna be the person that was connecting with me. I do a lot of dogs and families, and I've found this to work the best. Then what I do, you noticed how Mom was turned towards the baby. Kona was still looking off into space cause it's like a two year old dog, so it's like a two year old but in dog form. So kona was looking this way. I had Mom still looking at the baby. So I said, "Mom while you're looking at the baby, "can you call the dog's name?" okay? "And then smile." So what she did was she was smiling at the baby, everybody was looking at the baby, I mean after I manually turned his head, right, because sometimes you have to, and he and I were buddies by that point, so we were comfortable. She called Kona. The dog looked at Mom. Everybody was already looking at the baby, and I got the shot, okay. So you have to think about who do you, you have to be a director. Okay. Who am I gonna direct? What story am I trying to tell? Where do I want everyone to be looking? This isn't pile everybody on the couch and just let it go, you know. That works sometimes. More likely than not, Dad will look at you and smile. That doesn't ever work. It doesn't work. So you have to kind of, you see I was gently directing. I said, "everybody pile on the couch." I did not say, "Dad you sit here. "Mom you sit here. "Okay, little guy, you sit here. "Dog's gonna sit here." Okay. I let them get on the couch and let them get natural. Okay, now if they were apart from each other, I'd say, "Let's scooch your bottoms together. "Everybody needs to be touching." I like Mom and Dad's hips to be touching. Everybody needs to be connected. So that's the time where you gently direct them, but I don't force where I'm putting them. Does this all make sense? Okay. So that's kind of what happened. He was kind of looking that direction. That was just one of the angles that I took, and we are going to be going through and showing you some of these images, more of them, later when while going through editing at the end of the, at the end of the show. Okay? This is i had them stand in front of the window back lit. This is at a time where I had not taken out that thing on the side. Can you guys picture where this is now? That bottom black and white image. And they're connected. I like that because they're connected. That's a good time to backlight. A lot of people will say, "Oh but it's not "a true silhouette because the couch is in the middle." There's nothing you can do, let it go. I cannot crop that couch out. I am not about to do that in photoshop. That would just be torture. It's fine. Parents don't know that it's annoying to have a couch behind them when you're silhouetting, only we do, okay. Let that go. This right here, a little bit different of composition. We can see what they're doing, but the focus is on the baby. Okay. Same up here. We're going to see a little bit of video I believe in the kiddo's bedroom. Do you see the green walls, the green everything? Nikons pull green as well, so within my camera, I actually have my color bumped over to magenta a little bit. So if you're a Nikon user and you find that happening, you can go into your camera settings and actually do that.
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