Categories
Children's portraits Tips/Tutorials

Tips for Photographing Children’s Parties

Make sure to shoot the key moments. (Canon 5D. EF 85mm f/1.8 lens at f/2.2. ISO 1600 1/250 sec -2/3 EV)

Parties would seem to be a great opportunity to take photographs of your children having fun. And it’s an event you want to capture for posterity – especially if it’s a birthday or other special occasion.

But capturing good images can be more difficult than you’d think. Fast-moving cake-fuelled children, indifferent light and lots of visual clutter all offer challenges.

Here are some tips for getting the most out of a children’s party

1) Don’t shoot from your normal height

Getting down to eye level with the children often produces better results than shooting down on them from the normal parent-view height. The pictures are more involving and you don’t just see the tops of little heads.

Alternatively, shooting from directly above, or way down low can also produce some interesting results

Changing the angle can produce an interesting version of a classic party event.

2) Mix up the type of shots

I mainly shoot candid shots of the children with a reasonably long lens (most often a prime 85mm f/1.8 on a full-frame camera), but even with a single prime lens it’s worth looking for a range of shots.

The cake, the pile of presents and other details will help set the scene, as will wider shots of the room and bunches of kids.

The key is to imagine you’re telling the story of the party through your series of photographs – what images would you need to explain it someone who wasn’t there?

Don't forget to shoot some details that help tell the story of the party.

You can often get some of the details before too many people arrive, when you’ve got more time. Before and after shots of the scene of the party can also work well – especially if there’s a piñata and lots of wrapping paper involved.

3) Remember whose party it is

Especially if it’s your own child’s party, don’t forget that they’re the ones who should have the most attention paid to them photographically. I speak from hard experience on this one. At one of my daughter’s birthday parties I took roughly an equal amount of photographs of everyone there, just shooting whatever appealed to me.

As it turned out, not many of the shots of my daughter turned out to be that great, which was unfortunate but also ridiculous on my part – whatever else you photograph, make sure you have plenty of good shots of the child whose party it is.

4) Shoot the key moments

You’ll probably spend most of your time getting candid shots of everyone enjoying themselves, but there will also be some must-have moments, like the birthday boy blowing out the candles, or the attacks on the defenceless piñata. If it’s not your party, check with the hosts about what’s planned so you don’t miss the important elements.

A note on the candle blowing photograph. This can be tricky to capture well, and you can’t really ask for a re-shoot. So here’s how I try and approach it.

  • make sure your flash is off if you have one, so the face is lit by the lovely warm candle light (the brighter the ambient light in the room, the less you’ll see the light of the candle, though)
  • I use exposure compensation to underexpose by -2/3 or so, which will darken the shot a little, creating a bit more drama and emphasis on the face
  • if you’re shooting indoors and it’s not very bright, watch that you’re not choosing an aperture that will result in too narrow a depth of field, unless that’s what you intend. If you’re in close at f/2, what’s in focus is likely to a very thin sliver (probably not both candle and face if you’re shooting head-on)
  • burst mode (if you’re camera has it) will give you the best chance of getting a good shot of the moment the candle is blown out. Sometimes kids can look a little odd as they puff out their cheeks and blow, so having lots of images to choose from can help
  • kids all tend to gather round the cake with wide eyes, so if there’s time a wider shot of all the friends staring can be worth it, too

5) Party etiquette

If it’s your party, then shoot away, but if it’s someone else’s then you should check with the hosts that it’s OK (often they’ll be delighted that there’s a keen photographer taking pictures – make sure to share them, though). This is especially important if there are friends of friends there that don’t know you – even if the hosts are happy for you to shoot, be aware and sensitive to particular parents’ wishes if they’re not keen on you photographing their child.

You should also make sure to be respectful and friendly to the kids – they’re at the party to enjoy themselves not to follow instructions from grown-ups they might not know that well. So let them do their thing without intervening, or introduce yourself and make taking photographs part of the fun – showing them the results of their antics on the back of the camera for example.

6) Technical issues

Especially in the summer, there can be a lot of indoor/outdoor mixing at parties, so make sure you change your ISO and other settings to reflect the different lighting conditions. In these situations I often leave the camera in Auto White Balance mode and make any necessary white balance adjustments later (I shoot RAW, though, so if you shoot jpgs you’ll have less lee-way on this).

I tend to shoot in Aperture Priority mode, which gives me quick control of depth of field as I make decisions about what sort of images I want. But I’m always checking the shutter speed is fast enough to freeze the motion of the fast kids (unless I’m deliberately going for some motion blur). I tend not to use flash at all, but if I were to use it I’d employ a diffuser and/or bounce the flash to avoid it overpowering the scene.

A tripod would just get in the way, and won’t freeze motion anyway, so leave it at home and handhold. As mentioned above, burst mode will give you more options of capturing a crucial scene successfully.

Conclusion

The main point of party is to have fun, so unless you’re on the clock while you’re shooting, remember that first of all you should be enjoying yourself. But I hope these tips will leave you with some memorable party photographs to help you remember what a good time you and the guests had.

I’d love to hear your suggestions and tips for taking better party photographs – feel free to share them in the comments below.

Categories
Children's portraits Tips/Tutorials

Learn your craft then forget it

One of my wife’s teachers in architecture school wisely told his charges, ‘The bird of inspiration is not going to take a dump on your paper in the shape of your design.’

He was arguing that you have to put yourself in a position for inspiration to strike. Be at your desk with your skills and techniques honed, working away at stuff. Then you might get ‘lucky’.

The necessity of learning your craft is undeniable, and while I’m not pretending I’ve got anywhere near mastering it, I’m learning and I try to pass on tips and suggestions here that will help others. As my tagline says, I’m committed to ‘better children’s photographs for everyone’.

But for most types of photography – and definitely if you’re photographing children – you need both to learn your craft and then be able forget about in some ways while you’re shooting. If you take a photo with a 1/100 second shutter speed, even within that single second you had a 99% chance of not getting the particular shot you did. It’s amazing we get anything half-decent at all.

So when I’m shooting, I’m trying to think rationally about my backgrounds or composition. But most often I don’t have time. I trust that somewhere in my head there’s a bit of me that’s assessing what would make a good shot, moving my feet to get a new position that cuts out something distracting or brings more light into the eyes. But sometimes if you have to think about it, you’re taking too long.

So I’ll set the camera up (almost always on Aperture Priority, pretty close to wide open – say f/2.2) and then don’t worry about thoughtfully composing a technically perfect shot. Instead, what I’m looking for is emotion, because that’s what powers a lot of my photographs, and it’s easier to assess that quickly.

The most technically proficient shot is meaningless if it doesn’t communicate something – all that craft has to be in the service of something more important.

The image above shows what I mean. I took it at one of my daughter’s friend’s birthday parties. (Even when no-one’s paying me, I’ll be the one taking photos of kids I know.)

My daughter Fionnuala loves her kindergarten teacher Naomi with an intensity that’s wonderful to see (Naomi also taught her last year, so this is a long-term relationship). I was talking to Naomi when Fionnuala came up and snuggled into her. Instinctively, Naomi put her hand on Fionnuala’s head, and seeing that, I pulled the camera up to my face and got this shot.

What I saw was a sweet personal moment, but also a more universal image of nurturing and love in Fionnuala’s dreamy expression and the affection communicated in Naomi’s protective gesture .

At the time of course I wasn’t thinking this at a level I could express in words – I was probably thinking something more like ‘Ahh, there’s something there, where’s my camera!’.

The black and white treatment seemed to simplify things further, and I’m very happy with the way it turned out.

In fact, it only works well on a universal level because it has a personal truth to it. Writers are often told to write what they know because the more specific they get, the more (counterintuitively) what they’re saying has universal currency.

So if you’re a parent looking to take better photos learn your craft, and then have it in the background while you tell stories that are unique to you and your family.

If you’ve got stories to tell about what you’re thinking about while you’re shooting, I’d love to hear them.

Categories
Children's portraits News

Autumn shoot with three daughters

The weather has turned decidedly cold here in New Mexico today, but it was a warm and bright autumnal afternoon when I met up with Lauren, Mike and their three daughters in the park recently for a shoot.

The older girls in good spirits, crispy leaves, a bright sun but some nice shade under the trees all added up to some fun on the main shoot day.

But poor baby Vivi had missed her nap so was out of sorts though, so we reconvened at the same spot a couple of days later for her shots, and the groups of her with her big sisters.

Here are some of my favourites from the day. Mike and Lauren were looking for some images for their Christmas cards, and for printing and framing individual portraits of the children.

Let me know if you’re in the Santa Fe or Albuquerque area and would like something similar – not long now before the Holidays are upon us.

(Tech note for those who are interested: All shots were taken with a Canon 5D using a EF 85mm f/1.8 lens. Processing in Apple Aperture.)

Categories
Photoshelter Tips/Tutorials

Backup Strategies for your Photographs

When we shot on film we didn’t have much of a backup strategy. Amateur photographers would get the prints back from the lab, and store the negatives with the prints, the more hardworking of us putting at least some of the prints in albums. We didn’t keep extra copies of the images (except the dupes we’d send to family), and probably didn’t offer much protection beyond some envelopes and a cardboard box.

But now we’re shooting digital we have many more options on how to preserve and protect our valuable files. Here’s my approach, which I use both for client work and for my own projects.

The basic idea is that I never have only one copy of anything, and the multiple copies are in multiple locations. That way I’m protected against drive failure, my own stupidity (deleting files I don’t want to), and physical catastrophe (fire, flood, theft, and the like.

Even though file sizes keep getting bigger, the cost of external storage is so low now – 500GB for $70 or so here in the US – there’s no excuse for not backing up your stuff.

1) Get the image off the card as quickly as possible

In some ways, the most vulnerable time for your images is as soon as you’ve shot them. Memory cards are pretty reliable, but not as dependable as hard drives, and with a very few exceptions, cameras don’t create automatic duplicates of the images on multiple cards. So get them onto a computer as quickly as possible.

2) Backup the images before you do anything else

It’s tempting to start sorting and adjusting the images immediately, but try and get into the habit of creating a backup of the originals before you do anything else.

I use Apple Aperture which has a straightforward backup system using Vaults which makes this easy (I’ll not go into details here, but for those familiar with Aperture, I use managed not referenced Masters, with a number of different libraries for different types of work). However you do it, make sure you’ve got safe copies of your original files.

Even though programs like Aperture and Adobe Lightroom don’t make changes to the original files as you make adjustments, duplicating the originals gives you some peace of mind. This backup should be on a different drive from the first version – having two copies of your images on the same failed drive won’t do you much good.

3) Offsite backup

Keeping your backup drive next to your computer is convenient, but if you’re robbed or the house burns down, then you’ve lost both copies. It can be a pain, but it’s crucial that at least one of your backups is offsite. You could maybe swap drives with a friend for safe keeping.

I keep one of my backup drives in the office, with the other at home (and the main drive containing my libraries travelling with my laptop.)

That way even when I’m working on files and two of the drives are together (at home or at work), there’s always a third in another location.

4) Drobos and RAID arrays

As well as individual hard drives, there are options using mirrored drives, where the same information is automatically written to two drives. Therefore if one drive fails, you can continue working as if it never happened.

A Drobo is an easy to use system that does much the same thing as a traditional RAID 1 array (which can be trickier to use). One of my Vaults is on a Drobo in the office, so the same information is actually stored on four drives (1 main, 1 portable vault, and another vault mirrored on 2 drives on the Drobo).

But you should never have all your information just on a Drobo or RAID 1 array – you’re more protected from disk failure with such a system, but no more protected against someone walking away with the whole device.

5) A note on drives

For photograph and other backups, I’ve used a bunch of drives over the years. And yes, they do fail. The only drives that have failed on me, however, have been ones from LaCie. Maybe that’s just coincidence.

For external portable drives I mainly use ones from Otherworld Computing. For what’s it worth, when I did my Aperture 2 training course the instructor (who also worked with video a lot, so was storing a ridiculous amount of data) recommended Seagate or Hitachi drives, and didn’t have many good things to say about Western Digital.

6) Online options

As physical disk space has become very cheap, so the options for online storage have increased. Services like Dropbox, JungleDisk or Mozy allow you to store your images in the cloud.

Photography-specific services like Smugmug, Photoshelter (or even a Pro Flickr account) offer safe storage with lots of extra useful features such as web-accessible galleries.

Upload time for lots of files will be slow, and your backup is only safe as long as the company stays in business. For these reasons I wouldn’t use it for my only backup, but it’s a handy belt and braces approach.

7) Backing up finished files

This is something I’m not great at. One of the joys of using Aperture or Lightroom is that you don’t have multiple files that represent each photograph in different stages of editing. So there’s no fighting your way through nested folders to look for the original file, the square crop, the black and white, the cross-processed one or the lo-res web version. You can have all these versions, but there’s only ever one file, with sets saved in the program’s database with the settings for all the different versions.

That means the finished files don’t really exist until I export and send them to someone. Often I’ll not even keep those files because I figure I already have them in my (super backed-up) library.

But if every Macintosh computer in the world disappeared overnight, taking every copy of Aperture with it, I’d be in trouble (see where your thoughts can end up when you start thinking about backup options). What I should do is output TIFF or high-res JPG versions of all the files I’ve adjusted.

Burning these to DVD (or dumping them on another hard drive) would ensure that I wouldn’t have to recreate all those adjustments that took me so long.

Conclusion

These are by no means the only way to store your stuff safely, and I’m sure there are other things I could and should be doing. But this is my backup strategy, and it’s one that allows me to sleep at night. Not sure what I should do with all the film prints and negs we still have kicking around, though.

If you’ve any comments or suggestions, feel free to share them below.

Categories
Children's portraits News Tips/Tutorials

Guest Post on DPS: 6 Steps to Take ‘Guerilla’ Photos of your Children

I’m very happy to say that this week’s post of tips and advice has reached a wider audience than my regular ones.

My guest post for the great Digital Photography School is now up: “6 Steps to Take ‘Guerilla’ Photos of your Children

It looks at how sometimes the best photos of your kids come from a casual approach and having the camera handy

 Guerilla Photos of your Children 1.jpg

Check it out over there, and thanks to the DPS folks for publishing my post.