10. Directing the Shoot

In a still photograph you basically have two variables, where you stand and when you press the shutter.

—Henry Wessel

A photo shoot is similar to a Hollywood movie set, where the director is responsible for everything that happens on the set. A good director collaborates with actors and producers, but every decision she makes and every direction she gives is in an effort to maintain a strong, consistent vision for the picture. Your clients don’t hire you for your photographic skills alone. They may not say it, but they are also hiring you as the director of the photo shoot. Your clients expect you to take control and provide clear instructions in addition to creating amazing images of their children.

In this chapter you’ll learn how to do just that by assuming control of the shoot, establishing your point of view, posing your subjects, and then directing them in ways that bring out their unique personalities and expressions.

• Only one director on set. As parents, we get so used to correcting our own children that it’s almost impossible to turn it off. During the client consult, I warn clients against directing their kids during the shoot and giving commands such as, “Smile!” “Look over here!” “Isabelle, don’t sit like that,” and so forth. I let them know that once they walk into the studio, I will handle the kids. They can take a break, watch the “show,” or go shopping. Sometimes they’ll forget my advice and begin directing their kids. I’ll let them get out a couple of commands and then, in a joking way, remind them by saying, “OK, you’re not allowed to talk to your kids for the next hour.” Or I might address the kids with, “Guess what? You don’t have to listen to anything your parents say for the next hour.” The kids love it; it’s light and funny but also reminds the parents that I’m taking charge of the session. The parents usually laugh, realize what they are doing, and go sit down. If the problem is more protracted, I’ll suggest that mom go do some shopping at the store next door or that dad go read his iPad in my office.

• Only one camera on set. During the consult, I make sure my clients know that there will be no other cameras, including iPads or phones, on set. I’m not worried about them taking a photo that will compromise my portrait sales; it’s the problem of two directors. If mom is calling out, “Look over here!” while snapping pics on her phone, that breaks the connection between my subjects and me. Once I explain that other cameras on set will distract the kids and take away from the success of the images, most clients get it. If clients want to Instagram a quick behind-the-scenes shot of their kids being photographed, I’ll let them take one shot at the beginning of the shoot and then I expect them to put it away.

As mentioned in Chapter 2, I have specifically instructed my clients before the shoot not to threaten their kids to be good while we’re taking pictures. I’ve promised that we are going to have fun and that, although things might get a little crazy, it’s all for a good final result. When the kids arrive for the shoot, I get down on their level, shake their hands, and introduce myself. A good icebreaker for younger kids is to act confused about their names and start calling the boys by the girl’s names or vice versa. Little kids love to correct adults, and it starts the session off on an amusing note. For older kids, I ask them about school or their interests, which I’ve just reminded myself of by looking at the client consult sheet. I want my subjects to feel they are important and that this experience will be fun.

Give careful thought to where you are standing or sitting (or lying down for that matter) when photographing a child. Where you stand affects your angle of view and how your camera interprets your subject, making the child appear confident and important or submissive and demur. Like with every decision you make during a shoot, choose your camera angle with intention.

Choose your camera angle with intention.

FIGURE 10.1 shows four camera positions, and FIGURE 10.2 shows the results of those camera angles. The differences may seem subtle, but compare the first and last shots by covering up the middle two and you’ll get a clear idea of the difference a camera angle can make. Here are the four angles described in detail:

• Worm’s-eye view. This is a very low camera angle, where the photographer is shooting up at the subject. It is achieved either by the photographer lying on the floor or by elevating the subject on a stool or platform. This angle works well for full-length shots and conveys respect for the subject in the image.

• Neutral camera angle. A neutral camera angle is achieved with the camera lens at waist height to the subject. The neutral angle is a safe choice and works well for full-length or close-up shots.

• High camera angle. The photographer at a standing position puts the camera at a high angle in relation to a child, essentially shooting down on the subject. This angle makes the child appear younger and more vulnerable—eyes looking up to the camera appear sweet and demure. This is a good angle for head shots.

• Bird’s-eye view. A very high angle is achieved with the photographer standing on a stool or ladder. This view can create distortion in a standing subject, which can be used for effect (think big head and little feet). This angle can cause foreshortening in the image, making the subject appear stocky and heavy, but when used for effect can emphasize a chubby baby. Pay careful attention to the floor when you’re shooting from a high angle because it will be your background.

• Enter their world. A very low camera angle gives the viewer the feeling of entering the children’s world at their level or seeing things from their point of view.

• Large and in charge. A low camera angle can make even the smallest child look commanding and important, like the shy but proud little boy in FIGURE 10.3.

• Editorial feel. Photographing kids from a worm’s eye view is a departure from the typical portrait taken from a neutral or slightly high angle (FIGURE 10.4). Most high-fashion editorials are shot from a low camera angle. Shooting from a very low angle with a child as your subject creates an image that feels more edgy and fashion forward (FIGURE 10.5).

Begin with their natural movements and then refine their pose from there.

• Natural stance. Shooting from a low angle makes it easier to capture a child’s natural stance and expression because the child isn’t forced to look up to the camera.

• More background. A low camera angle means the floor or ground is less prominent than the background or sky. You can take advantage of this by playing with a sense of scale and create more negative space in your image.

• Exaggerated action. A low camera angle is particularly suited to action shots. It makes kids’ jumps look higher than they really are and also highlights the pose and movement of your subjects.

If you’ve been photographing children from a standing position, experiment with new, more interesting angles and change up your point of view.

To begin, I give my subjects an open-ended direction, such as, “Hop up on that stool for me.” Then I watch to see what they naturally do. If the pose is good as is, I shoot it; if it needs adjustment, I can refine the pose from there. This is by far the easiest and most natural way to pose anyone regardless of age: Begin with their natural movements and then refine their pose from there.

• Criss-cross applesauce. “Cross your legs” has different meanings to different kids. Somehow, the command “criss-cross applesauce” lets them know that you want them to sit like the boys in FIGURE 10.6.

• Elbows on knees. I love the look of a subject leaning in toward the camera, and the quickest way to get this pose when your subjects are seated is to have them put their elbows on their knees, like the boy on the left in Figure 10.6.

• Thumbs in pockets. Deciding what to do with hands is always a concern in a portrait. Two helpful directions are to ask the kids to put just their thumbs in their pants pockets. Alternately, if they want to put their hands in their pockets, make sure their thumbs are showing (FIGURE 10.7). If they shove their entire hands in the pockets, the hands look strangely amputated without the thumbs showing.

• Fold your arms. This is a perfect pose for the sassy girl or for a boy who wants to look confident and tough (Figure 10.7). You’ll find that just by folding their arms your subjects will usually shift their weight to one leg or the other, creating more interest in the pose.

• Just a teeny-tiny bit. It’s the small, incremental movements that make the difference between a so-so pose and a great one, so it’s important to have a method of directing kids to move in small increments. Asking a child to step forward can result in a huge leap toward the camera. Instead, I’ll ask them to take a “teeny-tiny step” toward me and say it in a teeny-tiny voice. It’s amazing how well this works with children of all ages (and adults).

• Cross your knees/ankles. Instead of asking your subjects to cross their legs (which can have multiple interpretations), be more specific and ask them to cross their knees or their ankles.

• Perched vs. sitting. When asked to sit in a chair, kids will usually put their bottom all the way to the back of the chair, which isn’t the best look because the soles of their shoes are then facing the camera. Ask them instead to “perch” like a bird on the edge of the chair. This places them in a position where they are leaning toward the camera, which is a more engaging portrait angle.

• Don’t let me see the bottom of your shoes. A common distraction in a portrait of a sitting child is that when they sit back too far, the bottoms of their shoes are visible. If the kids are barefoot, there’s no problem. But if mom has carefully selected shoes, she’ll want to see them in the picture. Kids can “hide” the bottom of their shoes by pointing their toes, putting their feet on the floor, or scooting forward in a chair so their legs hang down.

• The sticker trick. Posing toddlers is like herding cats. The best you can do is to get them in the light and try to keep them there long enough to get a shot. The sticker trick is a great ploy for keeping young kids where you want them when you’re shooting standing shots. Anchor them to the floor by placing a sticker or small piece of gaffer tape on the floor right where you want them to stand; then solemnly make them promise to “hide” that sticker from you with their foot. If they try to walk off, gasp and say, “Hurry! Cover that sticker up; don’t let me see it.” They will stay long enough for you to get a shot, and as a bonus, you’ll get some great expressions from them as they try to cover up the sticker.

I like to shoot camera aware and camera unaware images during a photo shoot depending on my subject and what we are trying to create for our final product. But one of my favorite poses when photographing more than one subject is a combination pose: Some subjects are camera aware and others are unaware in the same image, as in FIGURE 10.8 of a young family with a new baby. Mom, dad, and baby are all wrapped up in each other (camera unaware) while the firstborn is looking directly at the camera. This combination camera aware/unaware pose creates a storytelling element in the portrait.

A more contrived yet energetic version of the camera aware/unaware concept is to shoot a family where mom and dad are laughing at each other as the kids steal center stage by jumping and looking directly at the camera. At your next shoot, change how you normally shoot by considering whether you want your subjects to look at the camera, each other, or something else entirely.

The group of kids in FIGURE 10.9 is a blended family of step-siblings. They care for each other, but a saccharine-sweet shot of them hugging each other would not ring true for their ages or the family dynamics. In this photo session, we had club music playing in the studio so the girls were shaking it while the boys were wishing they were anywhere else. I simply emphasized what was already happening by positioning them in a line and reassuring the boys that if they cooperated, they probably would not be required to dance.

Highlight the differences in siblings with posing or just by paying attention.

When boys get to the tween phase, they are eager to show their separation from their dad. You can still do the dad and son shot, but be sure to give junior a little respect. Pose him by putting his back against his dad (or brother). This stance gives him some visual separation from his dad but still keeps them connected.

You can also highlight the differences in siblings with posing or by just paying attention. The twin sisters in FIGURE 10.10 are very different. The oldest twin is standing where she’s supposed to be, front and center, ready for her photo to be taken. Her younger sister is easily distracted, so she’s turned sidewise looking of at who knows what. Meanwhile, the naughty younger brother (and only boy) is determined to do things his way. This was mom’s favorite image from the shoot because it showed their personalities and their relationship in a single image.

Snort like a pig, speak in a whisper, or hit yourself in the head. Do whatever it takes to get the shot.

The best compliment you could ever be paid by your clients is when they tell you that the images you created captured their child’s real personality. These are the photos that capture authentic, natural expressions and the images your clients will love best. But how do you elicit those expressions on demand? It’s all about prompted reality.

For example, the mom in FIGURE 10.13 had a clear vision of what she wanted—a natural, fun portrait of her and her only son. The foreign surroundings intimidated the little boy at first until I asked mom to get on the floor and roll around with him, allowing her boy to use her as his personal jungle gym. The background, lighting, and setting are all artificial, but the moment between this baby and his mom is 100 percent authentic.

The better the interaction, the better the expressions.

Prompted reality is directing your subjects to do something. The actual direction may not be what you really want them to do, but their reaction to your request is the expression you’re looking for. In essence, you are directing for the results, not the actual direction. It’s my job as the photographer and director to create an environment where true-to-life expression can happen, and the reality or personality of the child can emerge.

It’s easy to over-pose your subjects, making them appear stiff and bored. The following techniques will help you keep kids’ expressions fresh by giving them something to do or react to:

• Shh, do you hear something? Say this in a whisper, and the child will pause and listen. In general, whispering will make a child lean forward and listen for what you are about to say. It’s a good trick that results in an authentic position, wide eyes, and a sober face.

• Eyes only to the floor, then back to me. This is a great direction to use to maintain engagement in your subjects’ eyes. Direct them to move only their eyes and look at the floor. Then, when you give the signal, ask them to look right back at you.

• Keep it moving. The key to avoiding static, overly posed images is to keep your subjects moving. That doesn’t necessarily mean big movements; even shifting from one foot to the other or one bum cheek to the other will keep the pose from becoming stilted.

• Flashdance. Ask your subject to do something a little bit different after every flash of the light. Kids love this because it makes them feel like supermodels.

• Keeping their attention. Babies and toddlers are constantly in motion anyway, so the trick to directing them becomes maintaining their attention. Refer to Chapter 2 for good tricks on retaining a little one’s attention.

• The fan. I love using the fan, especially when I’m shooting little girls with long hair in dresses. The fan doesn’t have to be turned on high; just a little wind adds movement and interest in an image.

• Subtle sabotage. One of my favorite tricks of all time is a sabotage game, which can be used in many forms. For example, I might say, “I bet I can guess your middle name, so don’t tell me what it is.” Then I’ll guess crazy names like Henrietta or Bertha. Anything that will get a rise out of the kids. It cracks them up and makes them feel superior because they know the right answer and you don’t.

• Make the noise. If you want to capture an image where kids are yelling or laughing and you direct them to yell or laugh, they’ll usually just open their mouths and pretend to yell. The shot never looks right. Direct them to actually make the noise—to actually yell, laugh, scream, or as was the case in FIGURE 10.14 growl.

• Mine! Part of the reverse psychology discussed in Chapter 2, this is the ultimate technique to use with three- to five-year-olds. If a child refuses to do what I want him to do, I’ll say something like, “Don’t you hug my dad/baby/toy!” This usually makes them do exactly what I told them not to. The whole “it’s mine” concept starts in earnest at approximately age two, but for some very young kids, this trick can backfire and make them cry, so proceed with caution. However, at age three, kids pretty much know you’re kidding, so they’ll get into it with you and sass you back, declaring that it is in fact their dad/baby/toy, not yours. So there.

• Don’t tickle/hit me! This trick requires an accomplice, an assistant, or a parent. If the child is not paying attention to me, I’ll create a show for him by telling him, “Your mom is trying to tickle me, don’t let her do it!” in a very fearful, pleading voice. All the while mom is perched over me with “tickling hands” at the ready, slowly acting as though she’s going to tickle me and then she does. I then scream dramatically, which results in hilarity all around. This stunt also works with someone hitting me with a toy rubber mallet I have on hand or bonking me on the head with a ball—whatever it takes to get a reaction.

• Get dad! Make a big deal of calling the kids over to you and tell dad, “Don’t you listen to us; it’s a secret!” Then direct the kids that on your cue they should run over and tackle dad. I say this in a stage whisper loud enough for dad to hear so he knows what’s coming. If you’re lucky, you’ll work with a dad who knows how to ham it up for the camera (FIGURE 10.15).

• Give dad a spank/time out. Kids love it when I threaten to give their mom or dad a time out. The idea of their parents being disciplined is a delicious concept to most kids, and their reactions show their approval.

• Biggest fake laugh ever. This technique shouldn’t work, but it does. When older kids are stuck in the cheesy smile or tight-lipped look, I’ll direct them to do the “biggest fake laugh ever.” They usually don’t get it right the first time, but just like smiling makes you feel better, even a fake laugh can result in natural, happy expressions.

• Bored supermodels/mean girls/tough guys. I love to create images with sober faces and a little attitude, so for a shot or two I’ll direct older kids to act like bored supermodels or to think like a mean girl (or tough guy). It’s amazing how this affects not only their facial expression, but how they stand and sit.

• Give him a big kiss. This direction can elicit a multitude of responses depending on who it is asked of. For tween brothers, you can imagine the “Eww, gross!” expression, but for the toddler cousins in FIGURE 10.16, the request was taken at face value.

• Who’s the brat? This trick is a perennial favorite of mine. When siblings are in a shot together and they’ve been photographed before, they’ll instantly strike the expected, cheesy pose. To shake up the composition, I’ll ask them, “Who’s the biggest brat in the family?” They usually start pointing at each other and cracking up, which makes for a great interaction shot.

• Muscles. No boy shoot would be complete without the requisite “gun show.” It’s especially fun to get the muscle shots when the boys are very small, and regardless of how small and skinny they are, you can see that they think of themselves as the Hulk.

• Look in my lens. If you’re having trouble getting the child’s attention, tell him, “There’s something in my lens; can you see it? What is it? You’ll get a more intense expression aimed right where you want it.

• Everyone look at _______. This is a good way to break up monotony in a shot. After you’ve captured the normal, go-to poses, try the direction, “OK, everyone look at Jack (or whomever you want them to look at)!” Then when they look at him, follow up with something like, “Awww, he’s sooo cute!” I’ll repeat this several times calling out a different kid each time. I don’t know why, but for some reason this always makes kids giggle, and it loosens everyone up.

• The big finish. From the beginning and throughout the shoot, I’ve promised the kids they’ll get to do some crazy stuff at the end. The big finish might be a dance party where we crank up the music and have them dance for the camera or it could be a muscle posedown, or perhaps a karate kick contest. The kids may want to pull out some props and go nuts. This is their big reward for doing what I asked of them. They can do whatever they want (within reason), and I’ll shoot it. This is where the outfits that didn’t make the cut make an appearance as well. Or, if the kid has big ideas and wants to try something you know won’t work, you can let her try it at this time. You may get nothing from this part of the shoot, or you just might be surprised (FIGURE 10.17).

• Your energy. If you’re not happy and energetic, no one else will be. You owe it to your clients to be physically and mentally prepared, and excited to take on the lunacy that is a kid shoot.

• It’s what you say and how you say it. If you want the kids to calm or slow down, talk in a soft, calm voice or whisper so they have to strain to hear you. If you need to amp up the energy, talk louder, make silly noises, laugh, or even scream in delight over their antics. You will set the tone for the shoot, so do it intentionally.

• Time of day. Mornings are usually the best time to photograph kids. Make sure you ask mom about the nap schedule for little ones and plan accordingly. If kids are tired or just home from a hard day at school, you’ll be fighting an uphill battle. If the shoot is scheduled for after school, advise mom to give the kids a snack and allow them time to get ready and change gears.

• Emergency candy. I’ve had shoots where a shot of sugar for the kids was the only boost that would make the energy happen. Remember that you aren’t establishing lifetime nutritional habits; it’s your job to get the shot. Ask mom, of course, but don’t be afraid to suggest a little sugar if the energy is dwindling.

• Encouragement. Keep the energy up and the flow moving with positive encouragement. If you’ve posed the kids and the shot’s just not working, shoot it fast and say, “Great!” and then move on. Don’t let the kids know the shots are not working; they’ll lock up and get worried (especially the oldest child) or get bored and want to be done.

• Music. A good playlist can lift the mood of everyone on set. If the child has a favorite artist, download a few of the singer’s songs and play them during the shoot. I find that dance/club music (download the clean version) fits the bill for almost every shoot. Even very young kids like music with a beat.

• The cheesy smile. I don’t know why, but at age five kids suddenly plaster on a stretched-lip cheesy smile anytime a camera is near. A couple of tricks to conquer the cheesy smile are to have the child blow a raspberry or stick out his tongue at the camera. The fact that the child got permission to stick out his tongue at you is usually enough to break the cheesy cycle and prompt some new expressions.

• Shyness. If your subjects are painfully shy and unsure, you’ll have a difficult time getting good expressions from them. Give them a home base from which to operate by allowing them to hang with mom or dad. You’ll be surprised at how expressive shy kids can be once they know they are safe in dad’s arms (FIGURE 10.18).

• Squinty eyes or blinking. Sometimes a child might squint her eyes or blink in anticipation of my flash. You can overcome this problem by asking the child to close her eyes and on the count of three open them and look at the camera. It usually takes two or three times to get the expression right.

• Tight mouth. The tight mouth is the close-lipped cousin of the cheesy smile and is most commonly seen in kids ages seven and up. They know they shouldn’t do the cheesy smile, but all their nervousness is manifested in the tight smirk on their face. Try the same solutions suggested for the cheesy smile. You can also try asking the child to breathe through her mouth. Her lips will part and her mouth will instantly relax. This also works well for kids with braces.

Although I love the wild card elements, it doesn’t mean they are easy to deal with. I have to use all my tricks and patience to deal with the naughty kids, but my mantra is always, “Shoot first. Discipline later.”

When an older sister is torturing her younger brother by holding his favorite toy above his head, as in FIGURE 10.19, you might think to intervene, but remember that you’re not the parent; you’re the photographer. Shoot first. Discipline later.

The naughty younger brother in FIGURE 10.20 was not interested in being photographed until his older brother sat down for a shot. Little brother then began running in and out of the background, showing off for me. I almost shooed him off the set until I realized this was an opportunity for a more dynamic shot—one that tells the story of a long-suffering boy and his pesky younger brother. Shoot first. Discipline later.

Rather than trying to micromanage your subjects’ every action, go with the flow of what’s happening at the moment and make it work for you. Can you convert misbehavior into a storytelling shot? Take a step back and see if there’s an image to be made out of the anarchy.

The mark of a successful shoot is when the parents leave my studio apologizing for their wild children and confess that they’re sure we didn’t get a shot worth using. When you press the shutter is a matter of anticipation and timing. By directing the craziness, you can anticipate that something will be happening. Wait for it, watch for it, and capture it. Shoot first. Discipline later.

When you’re editing your next shoot, look for the unexpected element in the following areas:

• Toes and feet. It’s amazing how expressive feet and toes can be. Does she point her toes like a ballerina? Is he standing flat-footed except for that one toe?

• Hands. Hands can be as expressive as a child’s face. Watch for how kids hold onto a favorite toy or how they cling to a parent. The little boy in FIGURE 10.21 has expressive hands and feet.

• Eyes and eyebrows. Do the kids have a certain look they give their mom? Perhaps they raise an eyebrow or maybe exhibit what I call the “crusty” look when they think you’re a little bit crazy (FIGURE 10.22).

• Mouths. Some kids bite their lips when they’re nervous; others might hang their tongue out of their mouth when they concentrate. Read their lips; you might see an intriguing quality.

• Shoulders. Shrugged or slumped shoulders can tell two different stories. Children’s posture is a clue to how they are feeling. Pay attention.

Usually, it’s not one obvious gesture but a combination of tiny movements that tell a larger story about a child. Develop your eye for detail by watching for these small gestures when you’re shooting and especially when you’re editing. Notice and highlight these nuances in every shoot. Your clients will love that you’ve paid attention to and captured what they love about their children—a reminder of what they see every day.