Studio Portrait Photography Of Children And Babies

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<ul><li><p>STUDIO PORTRAIT PHOTOGRAPHY</p><p>CHILDREN AND BABIESofThird Edition</p><p>MARILYN SHOLINAmherst MediaPUBLISHER OF PHOTOGRAPHY BOOKS</p></li><li><p>Copyright 2008 by Marilyn Sholin.All photographs by the author unless otherwise noted.All rights reserved.</p><p>Published by:Amherst Media, Inc.P.O. Box 586Buffalo, N.Y. 14226Fax: 716-874-4508www.AmherstMedia.com</p><p>Publisher: Craig AlesseSenior Editor/Production Manager: Michelle PerkinsAssistant Editor: Barbara A. Lynch-JohntEditorial Assistant: Artie VanderpoolEditorial Assistant: Carey Maines</p><p>ISBN-13: 978-1-58428-212-9Library of Congress Control Number: 2007926860Printed in Korea.10 9 8 7 6 5 4 3 2 1</p><p>No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, me-chanical, photocopied, recorded or otherwise, without prior written consent from the publisher.</p><p>Notice of Disclaimer: The information contained in this book is based on the authors experience and opinions.The author and publisher will not be held liable for the use or misuse of the information in this book.</p><p>SPECIAL THANKSSpecial thanks to all my clients who let me into their lives and have shared their chil-dren and families with me. Your children are all a part of my family.</p><p>DEDICATIONThis book is especially dedicated to the many people who are no longer with me. I knowthey are all reading the book up there and smiling down on me. I feel their presence.This book is dedicated also to Michael, with love. I couldnt survive without your love</p><p>and laughter to keep me sane.</p></li><li><p>CONTENTS 3</p><p>About the Author . . . . . . . . . . . . . . . . . . . . . . . . . .5Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6</p><p>1. THE CHILD-FRIENDLY STUDIO . . . . . . . . . . . . . .9First Impressions . . . . . . . . . . . . . . . . . . . . . . . . .10Your Appearance . . . . . . . . . . . . . . . . . . . . . . .10Toys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Furnishings . . . . . . . . . . . . . . . . . . . . . . . . . . .12Overcoming Shyness . . . . . . . . . . . . . . . . . . . .12</p><p>Your Camera Room . . . . . . . . . . . . . . . . . . . . . .13Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15</p><p>2. WHOS THE BOSS HERE? . . . . . . . . . . . . . . . . .17Newborn to Six Months . . . . . . . . . . . . . . . . . . .18Seven Months to Thirteen Months . . . . . . . . . . .23Fourteen Months to Eighteen Months . . . . . . . .25Nineteen Months to Three Years . . . . . . . . . . . . .27Four Years to Six Years . . . . . . . . . . . . . . . . . . . .29Older Sibling Syndrome . . . . . . . . . . . . . . . . . . .31A Word About Moms . . . . . . . . . . . . . . . . . . . . .32Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33</p><p>3. A TYPICAL PORTRAIT SITTING . . . . . . . . . . . . .34Clothing Consultation . . . . . . . . . . . . . . . . . . . .34What Works? . . . . . . . . . . . . . . . . . . . . . . . . . . . .36Keep it Simple . . . . . . . . . . . . . . . . . . . . . . . . . . .37The Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40Clothing Evaluation . . . . . . . . . . . . . . . . . . . .40Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41Full-Length Portraits . . . . . . . . . . . . . . . . . . . .41Close-ups . . . . . . . . . . . . . . . . . . . . . . . . . . . .41</p><p>Final Viewing Appointment . . . . . . . . . . . . . . . . .42Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43</p><p>4. CAMERAS . . . . . . . . . . . . . . . . . . . . . . . . . . . .44Digital Cameras . . . . . . . . . . . . . . . . . . . . . . . . .44</p><p>Megapixels and Resolution . . . . . . . . . . . . . . .44Burst Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . .46Shutter Lag . . . . . . . . . . . . . . . . . . . . . . . . . . .46CCD vs. CMOS Sensors . . . . . . . . . . . . . . . . .46Digital Storage Media . . . . . . . . . . . . . . . . . . .49</p><p>Image File Formats . . . . . . . . . . . . . . . . . . . . . . .49TIFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50JPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50RAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51</p><p>Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51Minimum Camera and Lens Requirements . . . . .51</p><p>CONTENTS</p></li><li><p>4 STUDIO PORTRAIT PHOTOGRAPHY OF CHILDREN AND BABIES</p><p>5. LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . .54Strobes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54Monolights . . . . . . . . . . . . . . . . . . . . . . . . . . .57Power Packs . . . . . . . . . . . . . . . . . . . . . . . . . .57</p><p>Built-in and On-Camera Flash . . . . . . . . . . . . . . .57Light Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . .61Umbrellas . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Softboxes . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Reflectors . . . . . . . . . . . . . . . . . . . . . . . . . . . .62Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63</p><p>Minimum Lighting Requirements . . . . . . . . . . . .63</p><p>6. EASY AND EFFECTIVE LIGHTING . . . . . . . . . .66Three-Light Setup . . . . . . . . . . . . . . . . . . . . . . . .66Two-Light Setup . . . . . . . . . . . . . . . . . . . . . . . . .66Effective Background Lighting . . . . . . . . . . . . . .67High and Low Key . . . . . . . . . . . . . . . . . . . . . . .68Lighting Patterns . . . . . . . . . . . . . . . . . . . . . . . .68Flat Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .68Butterfly Lighting . . . . . . . . . . . . . . . . . . . . . .68Loop Lighting . . . . . . . . . . . . . . . . . . . . . . . . .68Rembrandt Lighting . . . . . . . . . . . . . . . . . . . .69Split Lighting . . . . . . . . . . . . . . . . . . . . . . . . .69Profile Lighting . . . . . . . . . . . . . . . . . . . . . . . .70</p><p>Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70</p><p>7. ARE YOU A PHOTOGRAPHER OR AN ARTIST? . .71Game Plan for Style . . . . . . . . . . . . . . . . . . . . . . .71Identify Your Strengths . . . . . . . . . . . . . . . . . . . .74Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74Variety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74</p><p>Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79</p><p>8. DIGITAL ARTISTRY WITH COREL PAINTER . . . .81Just Add Water . . . . . . . . . . . . . . . . . . . . . . . . . .81Cloned Backgrounds . . . . . . . . . . . . . . . . . . . . . .84Auto-Painting . . . . . . . . . . . . . . . . . . . . . . . . . . .85Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89</p><p>9. POPULAR PLUG-INS . . . . . . . . . . . . . . . . . . . .90Black &amp; White Conversion for a Subdued Effect .90Weird Dreams . . . . . . . . . . . . . . . . . . . . . . . . . . .94Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94</p><p>10. MARKETING THAT WORKS . . . . . . . . . . . . . . .96E-mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98Direct Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99Networking . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99Word of Mouth . . . . . . . . . . . . . . . . . . . . . . . . . .99Websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99Glaring Omissions . . . . . . . . . . . . . . . . . . . . .101The Game Plan . . . . . . . . . . . . . . . . . . . . . . .101</p><p>Targeted Mailings . . . . . . . . . . . . . . . . . . . . . . .103Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . .103</p><p>11. THE PRESENTATION . . . . . . . . . . . . . . . . . .104Traditional Proofs . . . . . . . . . . . . . . . . . . . . . . .104Digital Proofs . . . . . . . . . . . . . . . . . . . . . . . . . .104Projection . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . .107</p><p>12. SALES . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108Basic Strategies . . . . . . . . . . . . . . . . . . . . . . . . .108Add-ons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110Portrait Collections . . . . . . . . . . . . . . . . . . . .110Purses and Jewelry . . . . . . . . . . . . . . . . . . . .111Other Options . . . . . . . . . . . . . . . . . . . . . . .113</p><p>Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . .114</p><p>13. CUSTOMER SERVICE AFTER THE SALE . . . .115Thank-You Notes . . . . . . . . . . . . . . . . . . . . . . .115Mailings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115Phone Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . .116E-mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118Make Customers for Life . . . . . . . . . . . . . . . . . .118Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . .118</p><p>Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123</p></li><li><p>Marilyns fascination with the visual arts started when she was a little girland her two older brothers had a darkroom in the basement. She spent manyhours there watching as her brothers created magic pictures that appearedin what looked like water in trays. Her fascination with the darkroom was en-hanced at Halloween, when its eerie red light made the darkroom the bestfun house on the block.On her sixteenth birthday, the one gift Marilyn wanted most was her own</p><p>camera. Her parents made her wish come true, and since then she has neverlooked back. The camera went with her everywhere, and the family countedon her to document all the family events. Her friends always knew theywould be photographed when Marilyn was around.Eventually, when Marilyn married and had children, she unpacked that</p><p>old enlarger her brothers worked with and set up her own darkroom in herhome. Now, it was her son who watched in amazement as the prints of himappeared in the trays of chemicals. She scrimped and saved and sold thingsat a flea market to buy her first top-of-the-line 35mm camera. With the firstroll of film she put through it, Marilyn won a national Kodak contest and hadher picture published in the newspapers. A natural? Good luck? Maybe yearsand years of learning to see and feel what transforms a good image into agreat one.Over the years, Marilyns artistic style of portraiture has received interna-</p><p>tional acclaim. Her award-winning photographs have been published in theProfessional Photographers of America (PPA) Loan Book and in the FloridaProfessional Photographers Excellence Book. She is also a nationally recog-nized Certified Professional Photographer with a Master Craftsman degree,and Corel recognizes her as one of their small select group of PainterMasters.Marilyn is a popular speaker at photographers conventions where she</p><p>presents programs on many topics, from The Art of Creativity to creatinginnovative family and childrens portraits and turning them into art. Herspeaking has taken her from coast to coast and worldwide. She also conductsworkshops with hands-on experience for the attendees.Marilyns philosophy is that you must stay on top of the photographic in-</p><p>dustry and be ready to innovate quickly. Keep an open mind and always lookto the future. She advises her seminar attendees and readers, Be fearless.</p><p>ABOUT THE AUTHORK 5</p><p>ABOUT THE AUTHOR</p><p>Photo by Marilyn Sholin.</p></li><li><p>The joy of photographing children is in their innocence and spontaneousexpressions. A glowing face or hug from one of our little people has bright-ened many gloomy days at the studio. Their expressions, captured in a frac-tion of a second, remain ingrained in our minds. Years later, they make ussmile.This book is for everyone who wants to learn how to photograph their</p><p>clients or their own children better, more easily, and with more pizzazz than</p><p>INTRODUCTION</p><p>The culmination of all your work behind thescenes is a memorable portrait that will betreasured for years to come.</p></li><li><p>before. In these pages, there are a number of tips for photographing childrenand having fun while doing it. After reading this book, you will find thateverything about cameras and lighting that once looked so difficult is nowclearer to you. The explanations are all presented in easy-to-understand termsthat anyone can use to improve his or her photography.A little bit of child psychology will help you in preparing for each childs</p><p>portrait session. You will learn what to expect from each session (and you willespecially appreciate when you meet the perfect child who goes against thenorm and follows all your directions perfectly).</p><p>In chapter 1 there are tips for setting up an effective and efficient studioand camera room. There are ideas for what to do to create a friendly at-mosphere that children will respond to, as creating kid-friendly environmentis important for building your rapport with them.Chapter 2 deals with the psychology of each age group that is pho-</p><p>tographed. Knowing what to expect from a newborn or a two-year-old willhelp you plan their portrait sessions. Having a few age-appropriate tricks upyour sleeve for each subject will make things go smoothly.Chapter 3 walks you through a typical portrait sittingfrom conducting</p><p>an effective clothing consultation to exactly what to expect during photog-</p><p>INTRODUCTION 7</p><p>A baby doesnt have to have a huge smile to show hes happy. This little guy is obviously comfortable, and his expression shows it.</p><p>A little bit of child psychology</p><p>will help you in preparing for</p><p>each childs portrait session.</p></li><li><p>raphy. It will help take away some of the mystery surrounding what happensduring a portrait session.In chapters 4 and 5, well discuss the right equipment for the jobthe</p><p>kinds of cameras, lenses, lights, and modifiers that are the bare minimumrequired to create beautiful studio portraits. In chapter 6, youll learn somesimple lighting strategies that will work well with your young clients.No two people see and photograph the same subject the same way. In</p><p>chapter 7, youll learn how to cultivate your personal style in order to setyour work apart from the competition. Chapter 8 serves as a crash course inusing Corel Painter to amplify the artistry of your images, and in chapter 9,youll learn how to use plug-ins to take those painted images to the nextlevel.Chapter 10 will give you insight into determining your target demo-</p><p>graphic and marketing your products to that select group. Youll discoversimple strategies for developing your client base in little time, with little orno money. It will save you time and money by focusing on marketing tech-niques that work quickly. Chapters 11 and 12 will show you how to presentyour images to clients and how to put on your sales cap to ensure the best-possible profits from every session. Youll also take a look at some hot prod-uct ideas that will ensure that your clients purchase more than a traditional...</p></li></ul>