By Bill Hurter
Jam-packed with sensible concepts that either tell and encourage, this specialist guidebook to photographing infants, young children, and teens offers new concepts to maximise consumer cooperation and make sure delicate periods. the full child-based photographic strategy is addressed, together with right apparatus choice, actual and behavioral controls for younger topics, operating with black-and-white exposures, assessing uncooked as opposed to JPEG modes, and comparing electronic exposures through settling on over- and underexposure metering. Chapters dedicated to gaining knowledge of studio lighting—from direct and subtle lights strategies to making use of using umbrellas and softboxes—as good as operating in sun and twilight environments can also be featured.
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Additional resources for Children's Portrait Photography Handbook
It should be noted that “corrective” lighting ratios are rarely used with children. With adults who have large or wide faces, a split lighting pattern and a 4:1 ratio will noticeably narrow the face. With children, wide faces are a happy fact of life—they make little subjects look cherubic. SOME FAVORITE SETUPS Large Softboxes. Very large light sources—larger than most children—are a popular choice for photographing children. Photographer Brian Shindle uses a big 4x6-foot softbox and a secondary 2x4-foot softbox to wash his small clients in a soft directional light.
For this reason, it is imperative that the eyes be a focal point of any children’s portrait. The best way to keep the child’s eyes active and alive is to engage him or her in conversation or a game of some type. If the child does not look at you when you are talking, he or she is either uncomfortable or shy. In extreme cases you should let Mom do all of the enticing. Her voice is soothing to the child and will elicit a positive expression. 54 CHILDREN’S PORTRAIT PHOTOGRAPHY HANDBOOK The direction in which the child is looking is important.
8D ED AF Zoom-Nikkor lens set to the 90mm setting. A child’s hands are delicate and beautiful and should be included whenever possible. While it is basically impossible to pose children’s hands—other than by giving them something to hold—you can gain some control by varying the subject distance and focal length. If using a short focal length lens, for example, hands will be close to the camera and appear larger than normal. Using a slightly longer-than-normal focal length sacrifices the intimacy of working close to the child, but corrects the perspective and controls this situation.