Young family photoshoot

[ionian]

Here are a few images from a shoot I did recently, for C&C. I've already shown a similar image from the same series, but I'm feeling tough-skinned so thought I'd post up three more for your comments

These were all taken in the clients' home using a portable backdrop, continuous lighting and a mix of reflective and shoot-through umbrellas. I also had a reflector on a stand where needed. As mentioned previously, continuous lighting was used because of the baby's tempremant - better to have a placid baby and contend with missing a few images due to movement than try to sell tack-sharp images of a screaming child to his parents.

Considering this, things you feel I should think about for similar sessions in the future would be very helpful.

Untitled by Simon Grimes, on Flickr

Untitled by Simon Grimes, on Flickr

Untitled by Simon Grimes, on Flickr

[george013]

Here are a few images from a shoot I did recently, for C&C. I've already shown a similar image from the same series, but I'm feeling tough-skinned so thought I'd post up three more for your comments

These were all taken in the clients' home using a portable backdrop, continuous lighting and a mix of reflective and shoot-through umbrellas. I also had a reflector on a stand where needed. As mentioned previously, continuous lighting was used because of the baby's tempremant - better to have a placid baby and contend with missing a few images due to movement than try to sell tack-sharp images of a screaming child to his parents.

Considering this, things you feel I should think about for similar sessions in the future would be very helpful.

Untitled by Simon Grimes, on Flickr

Untitled by Simon Grimes, on Flickr

Untitled by Simon Grimes, on Flickr

I can only say something about the last picture and compare it with the other you showed before.



To me there're two big differences between them: the subject of attention and the way the head of the baby is hold.
In the first on there're 2 subjects: the baby for the mother and the mother for the father. And his hands are not holding the head completely.
In the second one there's one subject, the baby, and the way he is holding the head is strengthen that more. Now the thumb around the head.

Just my thoughts.

George

[William W]

As mentioned previously, continuous lighting was used because of the baby's tempremant - better to have a placid baby and contend with missing a few images due to movement than try to sell tack-sharp images of a screaming child to his parents.

I don't understand the link between the necessity for using CL and a Baby's temperament. Do you mean that you previously used Flash with this Baby and the Flash caused the Baby concern to tears and screaming; or do you mean that the Parents asked you not use Flash; or is the reason otherwise? I haven't read the previous thread, if the rationale is explained there, could you link me to it, or if not, could you explain the rationale here.

***

things you feel I should think about for similar sessions in the future would be very helpful.

Image 1.

It looks like you’ve got a small Subject Movement. What was the Shutter Speed? (Comment takes into account that the necessity to use Continuous Lighting is not yet understood).

I like the modelling on the Face, but it would be probably better if the Key was situated a fraction higher; it is acting similar to a Rim Light which is nice, but such lighting is usually better for older people – it is a bit 'dramatic' for my taste as a ‘one off’ photograph of an Infant, but as one image as part of many in a series it is probably a good idea to try. The Clients might like it.

We can discuss Portrait Lighting all day and night, but the choice of what a Client likes might just come down to the expression on the face (i.e. your TIMING) . . .

On the point of TIMING I think that the Subject appears “distracted”.

Whatever is off n the distance to the Camera’s Left, could have been behind you. I think that for this age group, the ‘pensive aloof glance to off camera’ doesn’t really work all that well: next time I’d suggest hanging onto that Shutter Release until the Infant is connected - right down lens’s axis.

I think the Elephant is a great prop, but his front legs make an intrusive negative space.

The Subject’s R. Shoulder is too bunched-up and appears awkward and uncomfortable; the Clothing and the other arm cropped out - hence no internal balance - does not assist this situation.

*

Image 2.

Hat’s are really difficult.

I think you made a mistake placing the Key to Camera Left and then tilting the Hat downward to the Key Side. . . ??? - OR - It appears as if you did in fact have the Key to Camera Right and that hard light on the Subject’s R Cheek is another light as a Kicker or spill from the Backdrop Light . . . ???

In either case I think it was a mistake: there is a large area of well exposed side lit cheek and both of those big beautiful big eyes are under shadow, the R. Eye especially.

*

Image 3

Creative.

The best of the three.

Mum’s L. Arm is intrusive. An Higher Camera Elevation could have fixed that.

I’d definitely try tighter crop: it probably won’t matter if you lose some of Dad’s Hand.

WW

[ionian]

Thanks for the comments.

William -I am always grateful for your detailed analysis.

Image one I'm happy with the mood and composition (although your comments are interesting and I hadn't considered the negative space), but agree that eye contact with the subject would work better. This was me showing my inexperience early on by letting the parents do the distracting rather than taking full control of the shoot. Let's call it the sort of professional tradecraft that books don't teach you, but that you must master to get the photos you need in the time you have. My control of the space improved as the shoot went on as I grew in confidence - this was the first time I'd shot for people I didn't know in a professional context.

Image two - completely agree - and I actually have better images with the hat where I have him engaged with the camera as well as the face evenly lit. This wasn't the best example.

Image three definitely has some compositional errors, especially the crop of the limbs. Again, good tradecraft would require me to compose wider so I can crop to taste and to fit the sizing of the image wanted by the client. Let's say that I'm learning the hard lessons early. Thanks for your positive comments on this one.

Quickly, to explain the continuous light - the baby was ill and had reacted badly to flash in the past according to the parents, so I chose to stick with continuous light rather than wasting the first half hour setting up flash levels only to upset the child and waste another half hour calming him down. Right decision or not from a sharpness /artistic point of view, it certainly helped put the parents at ease.

All in all it was a good learning experience for me, and I have been able to provide them with 25 images from the 1.5 hours we had. I have a number of important lessons to take away from it that will help with any future shoots I do of this type -and I'd like to. I enjoy photographing many things but people make special images - I cant stand the buggers most of the time but I do like sticking a lens in their faces!

[William W]

Thanks for the extensive reply: it is very useful.

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. . . Let's call it the sort of professional tradecraft that books don't teach you, but that you must master to get the photos you need in the time you have. My control of the space improved as the shoot went on as I grew in confidence - this was the first time I'd shot for people I didn't know in a professional context.

Good analysis and understanding of (the many facets of) “professional tradecraft”

Excellent that you took more control of the situation: that is so very important.

***

. . . the baby was ill and had reacted badly to flash in the past according to the parents, so I chose to stick with continuous light rather than wasting the first half hour setting up flash levels only to upset the child and waste another half hour calming him down. Right decision or not from a sharpness /artistic point of view, it certainly helped put the parents at ease.

Seems to me you made the correct choice for that situation.

Expanding ...

The way your words read, the choice to use CT was made in situ, just before the shoot...

Continuing on the subject of “professional tradecraft”: if you want to avoid using Continuous Lighting for Portraiture, then I suggest you adopt methods to put the parents "at ease" (with Flash Lighting or whatever technique with which they might feel uncomfortable), before you arrive on site.

WW

[Dave Humphries]

I can imagine that a baby might well object to a P&S (or even DSLR) on-camera flash at short range blasted in to their eyes, even a super-bright LED 'flash' on mobile phone may cause discomfort - perhaps this was the parent's experience.


When I was photographing Chloe in the early months, I was either bouncing off the ceiling (sometimes with a tiny direct flash too) or via a shoot through umbrella, well out of her eye line.

Also, I was often shooting Manual flash and using RF triggering, thus avoiding TTL metering and communication pre-flashes. So just the one flash as I took each picture, which may have helped reduce stress.

Also the on camera flash isn't used as the AF assist on my camera, as I believe it is on some DSLRs.

While she did sometimes 'twitch' at/after the flash, it wasn't sufficient a problem to cause a change of approach.

So there are many mitigating factors you could mention to parents in future if the matter arises again.

HTH, Dave

[ionian]

Thanks - yes, I'd turned up with both continuous lights and speedlights, so I could adapt to what was needed. I hadn't spoken to them in advance but this is something I would look to do in future. In addition, I should have access to a small studio space from January and I think it will be much easier to feel in control of a shoot in this space rather than in the clients' living room - plus I will be able to have lighting set up in advance of their arrival.

I'm really grateful for your help.

George - There is a definitely a difference between them, and I think I prefer the image that joins all of the subjects into one clear focus of the image. your comment has made me look through the other shots from this series to find what works best, and this is something I can think about in the future.

[george013]

Thanks - yes, I'd turned up with both continuous lights and speedlights, so I could adapt to what was needed. I hadn't spoken to them in advance but this is something I would look to do in future. In addition, I should have access to a small studio space from January and I think it will be much easier to feel in control of a shoot in this space rather than in the clients' living room - plus I will be able to have lighting set up in advance of their arrival.

I'm really grateful for your help.

George - There is a definitely a difference between them, and I think I prefer the image that joins all of the subjects into one clear focus of the image. your comment has made me look through the other shots from this series to find what works best, and this is something I can think about in the future.

I can't say much about the technique. It's just the body language I mentioned. And the way the head has been hold is part of it too. A closed palm of hand around the head is more intimate.

George

George