Tips on Child Photography
Learn To Photograph Children For Money Or Pleasure
Tips on child photography! How to create a stunning portfolio for yourself or your client - Where
do you start? Whether you are just here to learn how to get the most
out of your digital camera when photographing your own children, or are
looking to make a living from this style of photography, hopefully these
tips on child photography will lead you on your way.
Whilst infant or baby photography
can be one of the most rewarding areas, it can also be quite
frustrating. If you have your own or have been around young children
long enough, you will know what I mean! The term "never work with
animals or children" springs to mind and usually relates to photography
or film-making. However, done right, you will end up with photographs
that will last forever and really capture the spirit of the moment.
I have seen Mothers in tears (of joy I might add!)
when they have seen some photographs of their children, and you cannot
put a price on that kind of reaction! With regard to pricing, that is
something you must decide depending on the demographics of your
particular area. I find it easier to charge a little more for the
sitting but offer prints at a competitive rate, I normally get larger
orders that way!
If you are looking to do this type of photography for
a living, it can be both lucrative and ongoing as you may well become
the family photographer for many years to come. Kids change so much in
just 6 months so establishing yourself early on would be a great
business move. Just follow the links below in the order that they run.
If you have any further questions on any photograph
in this section, please fill in the form at the bottom of the page.
Also, please let us know if there are any other subjects you would like
to see covered.
- Be Prepared
- Smile Please
- Show Your Wares
- The Setting
- The Natural Approach
- Clothes and Props
- Equipment
- Lighting
- Be Ready
- The Formal Shots
- The Eyes! The Eyes!!
Article courtesy of: All Things Photography
The chemistry and physics of how batteries generate electrical energy
means that at very low temperatures all batteries lose power. They're
just not as efficient. This is a particularly serious problem with
today's digital cameras that are totally dependent on battery power. So,
when you take your camera and flash out into the cold, you should
anticipate a loss of battery power. How do you prepare for this?
All right. You're outside now. What should you do differently because
of the cold? Your objective is to continue to try to keep the camera and
flash as warm as possible. For example, let's say you're staked out
waiting for wildlife to appear over yonder hill. Set up your tripod, but
if possible keep your camera protected under your coat until you're
ready to shoot. Here's where a quick-release head comes in handy. When
you see your quarry, pop the camera onto the tripod quickly and quietly.
An ice-cold tripod will do its job for far longer than an ice-cold
camera, which is likely to fail. Tripods, by the way, will eventually
freeze when temperatures are well below zero, depending on the type of
lubricant in the tripod's joints and head.
What
other problem bedevils the photographer in the cold (other than frozen
fingers and runny nose)? Static electricity. If you live anywhere in the
North, you know the problem during the winter – if you walk on a
carpet, you may get a shock when you shake hands or touch a doorknob.
Realize that static electricity is a problem only when the humidity is
low. And cold weather means low humidity because cold air cannot hold
much moisture. When you use your camera outdoors in the cold, therefore,
you risk creating a buildup of static electricity when you advance the
film (this is the equivalent of walking on that carpet) and when the
buildup is sufficient a spark may flash inside your camera, fogging the
film. While this is rare, it does happen. We've seen it and the results
ruin the affected photographs. How can you minimize this possibility in
cold weather? Advance your film carefully. With a manual camera, advance
the film slowly. With an autowind camera, shoot only one frame at a
time.
What
about taking photographs when it's actually snowing or sleeting? If
it's just a few flakes, just keep your camera under your coat except
when you shoot. Not long ago, we were outside photographing when a heavy
snow squall hit. In a few seconds, the whole world was awash in
swirling, blowing soggy snowflakes. This kind of heavy downfall can play
havoc with the exposed parts of an SLR or digital point-and-shoot,
particularly the highly electronic models where any moisture can snarl
the all-important circuits that control all the camera's functions, as
well as digital cameras.
Let your camera warm up slowly. Place it on a cool windowsill or an
unheated porch for a couple of hours so it can rise slowly to room
temperature. Since condensation can play havoc with an all-electronic
camera, you want even greater protection for them. This is where the
suggestion of wrapping a cold camera in a plastic bag comes into play.
The moisture will settle on the outside of the bag rather than on the
camera's outside and inside surfaces. You can protect the delicate
electronics this way. In fact, it's best if you place the bag on the
camera while still outside, not when you bring the camera in.
This tripod is neither the largest, smallest, heaviest, or lightest - but the Bogen 3021 BN Pro
is an affordable all-around solution for holding up Medium Format, 4x5,
5x7, or 8x10 cameras. It's built strong enough, and light enough. It's
not made of carbon fiber, but unless you are a trekker... who cares !
A leveling head like the 
Some
photographers buy expensive cases and packs to carry their gear. I
prefer a canvas bag and a beverage cooler. The Sinar P folds down small
enough to go into the bag, upside down. The Sinar is built like a tank.
The only thing it needs, is a carrying strap, and that's what the bag is
for. Everything else goes into the cooler, which has a nice sturdy
strap to go over your shoulder.
If you want a camera that makes large negatives, and yet folds up small
enough to fit in your pocket, then the only choice is one of the
folders from the 1950's. They lack most of the modern conveniences, but
pack the full punch of medium format. They're made of real metal, and
are great for traveling, especially if you bring along a small portable
tripod.
To
the right is a sample image, taken with an Agfa Record II, with its
3-element 105mm Apotar lens, a classic Cooke-Triplet design. The film is
medium-grain TMax 400, and the picture was taken hand-held. The detail
section is taken from the whole image, scanned with an Epson 4990 at its
setting of "2400 ppi". It has been enlarged to a size of 14x26 inches
at 300 dpi.
