Professional Children's Portrait Photography: Techniques and Images from Master Photographers

Professional Children's Portrait Photography: Techniques and Images from Master Photographers

Lou Jacobs Jr.

Language: English

Pages: 129


Format: PDF / Kindle (mobi) / ePub

Blending advice with example images, this guidebook marshals the wisdom and experience of 15 seasoned professionals to present a comprehensive resource on one of the most challenging subfields in the portrait-photography genre. Chapters feature the varied approaches and practices of each photographer while covering topics such as helping children warm up to the camera, choosing clothes for subjects to wear, and how to deal with kids who simply will not cooperate. Each professional also discusses the business techniques that have helped make his or her studio.

Reasons My Kid Is Crying

Developing Children's Social, Emotional and Behavioural Skills

Grimm's Fairy Tales

White Stallion of Lipizza

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side of the backdrop. I do some close-ups while Mom lets the child know it’s okay when the lights 34 PROFESSIONAL CHILDREN’S PORTRAIT PHOTOGRAPHY flash. Children usually warm up to me in a short time and begin having fun. With active children I may resort to bribery with animal cookies. I also have a bin full of little toys, and I promise a surprise if they do what I ask for a few minutes. The children love treats and will remember them every time they return. I make crazy noises, including a

enjoy getting to their level. The hugs I get at the end of the sessions make it worth it to give my all and generate fun for kids. I may use props to stimulate some gestures and expressions, but talking works better. Digital or film? I presently photograph with a digital camera, although I contemplated switching back to film because I have a love/hate relationship with digital. I love the control and freedom it gives me, but I hate the amount of time I spend in the digital darkroom. However, I

and Ernst Haas’s Creation, and I also paid close attention to lighting in television commercials. Books by Dean Collins helped validate my desire to photograph with one light. Business courses never interested me, so I considered myself fortunate when I met a loyal fan of my work who would become my business partner and manager; this allowed me to concentrate on being creative. Describe your studio. I once ran my business from a studio but decided I liked working on the beach, at parks, or at

snapshots. My child’s expressions were truer and CARRIE SANDOVAL 99 show, especially when I am putting on a silly act to make kids smile so I can snap the shutter as they give me that great expression. I photograph in my home, my client’s home, beaches, or parks. I look for huge windows or doors that don’t receive harsh, direct sunlight in the client’s home. Outdoors, I look for open shade. Photographing at the right shady distance from a large tree with wide open-sky behind the subject is

121–22 Employees, 7, 69, 93, 97, 110 Equipment selection, 10, 19–20, 28, 56, 64, 72–73, 81, 90, 96, 105, 113–14, 121 Expression, 19, 27–28, 37, 38–39, 46, 54, 61, 62–63, 71–72, 80–81, 89, 95–96, 103, 113 F File format, 48, 63, 87, 114, 122 Film photography, 55, 96 H Handcoloring, 55, 62, 73, 80 Handholding camera, 10, 80 Huch, Catherine, 51–58 background, 51 equipment, 55–56 marketing, 57 presenting images, 58 pricing, 57 scheduling, 52 studio, 51–52 techniques, 53–54 Hull, Autumn, 67–74

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