9. Styling and Props

Happiness is a place between too little and too much.

—Unknown

Photographers who are hired to shoot large ad campaigns or editorial spreads for major fashion magazines work with a creative team, which usually includes a professional stylist who selects clothing, a prop stylist who finds furniture or builds an entire set for the shoot, an art director who provides the concept and vision for the shoot, and professional models who know how to pose to bring the concept to life. As a children’s portrait photographer, that creative “team” is you, your clients, and their kids.

In this chapter, you’ll learn to approach each shoot as a collaboration with your clients. You’ll find valuable tips for styling kids, discover the best basic props to invest in, and learn how to conceptualize a shoot for your clients to highlight the individuality of every child you photograph.

Getting beyond the “outfit” mentality is all part of the consultation process. Rather than just focusing on cute attire, I talk to my clients about our goal for the shoot. What are we trying to portray with this portrait? Of course, we want the kids to look their best, but first and foremost we want them to look like themselves.

Most moms have an idea of how they’d like to see their child photographed, and it’s usually too formal (FIGURE 9.1) or not at all true to the kid. Mothers think in terms of what their child “should” wear in a photo rather than what shows their personality or speaks to the true nature of the child.

Every photographer has a slightly different take on the clothing selection process, which is actually a direct result of their own photographic style. Some photographers may prefer very stylized, themed portraits, whereas others favor stark simplicity. I tend toward clean and simple design, and place the emphasis on the children and their expressions (FIGURE 9.2).

This means that no matter what type of clothing we select for the child, there should be some slightly exaggerated element to emphasize the concept of the shoot.

If my subject is the sassy-diva type, I have mom bring as much of her daughter’s girlie gear as possible. Then we style her in studio. For the girl in FIGURE 9.3, we selected some of her jewels, her metallic go-go boots, and her tutu. All that glam juxtaposed with her modern bob hairdo and the selection of the industrial simplicity of her surroundings kept the image from becoming too saccharine and girlie-girl. It’s exaggeration with a twist.

This girlie-girl’s brother is a fearless, super-hero-in-training, so we coupled a John Galliano designer suit over a yellow tee with two yellow squirt guns for a tongue-in-cheek, James Bond concept. It’s exaggeration with a twist (FIGURE 9.4).

• Do consider going naked. No clothes in this world are cuter than a bare baby’s body. Moms may think they want to dress their babies in outfits for a shoot, but it’s hard to compete with bare baby photos. You have only a short span of time to shoot babies naked: This window of opportunity expires somewhere around the one-year mark.

• Do use layers. Jackets, vests, layered t-shirts, cardigans, and leggings create texture and interest in an image, and each item’s color and style is an opportunity to tell a story about the child wearing them.

• Do use the dry cleaners. Once the clothing has been selected, I suggest that the clients drop all the clothes at their favorite dry cleaner so everything is pressed and ready to go the day of the shoot. You don’t want weird wrinkles in a shot that say “just purchased” detracting from the image.

• Do bring the whole uniform. If my clients want to include a sports uniform in our session, I ask them to bring the whole uniform (socks, cleats, pads, etc.). A soccer jersey over a pair of jeans and sneakers doesn’t have the same impact as the full uniform, dirty cleats and all.

• Do bring options. I recommend that my clients bring more than one option if they feel unsure about their clothing selection.

• Do seek help from the pros. If selecting clothes isn’t your thing, team up with a local children’s clothing boutique for help. This reciprocal relationship can be beneficial to both businesses. The boutique owner can help you style the kids, you can provide images for marketing the boutique, and you both win.

• Don’t distract from the child. This is the one rule that should be unbreakable. Just say no to huge hair accessories that completely engulf a baby’s head or any outfit that ends up “wearing the kid.”

• Don’t change. Multiple clothing changes create a recipe for disaster, particularly with toddlers and babies. It’s best to start with layers that you can peel away for a different look without having to completely change outfits.

• Don’t forget the shoes. Nothing dates a photo faster than athletic shoes. My timeless shoe favorites are Converse sneakers, boots (like Hunter rain boots or cowboy boots), ballet flats, plain flip-flops, and bare feet.

• Don’t neglect the details. Pay attention to how the clothing fits the kids. If the kids show up buttoned down and looking as though they are wearing a straightjacket, take a minute to roll up their sleeves, perhaps untuck a shirt, and finesse their outfits, making the style more appealing and individual.

• Don’t dress young kids ahead of time. On photo shoot day, I suggest that my clients style their kids’ hair and clean them up but bring the clothes with them instead of dressing the kids ahead of time. This makes for a comfortable, no-stress ride to the studio with no worries if junior finds a chocolate bar in the back seat (it’s happened). The getting dressed part of the shoot becomes part of the experience, like playing dress-up.

• Don’t get haircuts right before the shoot. I counsel my clients to schedule haircuts at least one to two weeks prior to the shoot to avoid that “just cut” look.

• Don’t break the bank. There’s no need to go over the top on clothing expenditures. My most stylish moms often mix one high-ticket item, like a jacket or dress, with less-expensive togs, such as a t-shirt or leggings from discount department stores for an affordable, layered look.

One kid might be the girlie-girl fashionista, but her sister may be more low-key and casual, as in FIGURE 9.6. The brother, as the only boy, can carry off a plaid pattern. Use clothing to accentuate the differences between the kids, and your client will love how each detail reinforces that child’s personality in the final image.

Even in a group shot, I want the kids to shine as individuals.

• Neutral colors. The reclaimed wooden cubes and concrete cylinders provide texture and don’t conflict with the color in my subject’s clothing.

• Retro or industrial in style. The vintage office stool, the rolling architectural file, or the retro kitchen table and chairs add subtle character. The rolling file also provides a low, wide platform and is especially helpful when I’m photographing toddlers who don’t like to stay put. It gets them up off the floor just high enough that they pause before immediately climbing down, allowing me time to snap a shot. It also allows me to shoot from a low angle without having to lie on the floor (more about shooting angles in Chapter 10).

• Textured. Organic wood grain, smooth concrete or crusty, or chipped paint all provide interest in an image without overpowering the subject. The distressed wooden set of “stairs” pictured is actually a side table I found damaged on clearance at a local furniture store. It is a great prop for positioning multiple kids at different heights.

• Different heights. Platforms, such as wooden apple boxes, can be purchased through B&H photo (www.bandhphotovideo.com) and are perfect for adding height to a child whether the child is standing or sitting. The white, wooden boxes were purchased at a flea market. They were painted a nauseous blue so I repainted them white.

• Difficult to move. Heavy pedestals or stools are best to use when you’re photographing toddlers. The gray, concrete cylinders are hollow but heavy and cannot be easily moved—a perfect perch for toddlers who love to pick up and move little chairs rather than sit in them. A heavy chair or stool grounds little ones where you want them to stay. I found the concrete cylinders at a store specializing in outdoor patio furniture.

Primary props are more specific and defined.

The most specific prop I own is affectionately referred to as the princess chair (FIGURE 9.12). Almost every little girl (and big girl) who walks in the door wants to be photographed in that chair. Although I have to be careful with it because it can overpower the child being photographed, as specific as it is, the chair is surprisingly versatile. I’ve photographed a range of subjects in that chair, from formal little girls to brides and even Santa Claus.

A mix of secondary and primary props was used to create a set for an Audrey Hepburn-inspired shoot for a 14-year-old client (FIGURE 9.13). Obsessed with Audrey Hepburn, the girl spent weeks looking at photos of Audrey and collecting jewelry and clothing for the shoot. During her consult we decided on several vintage Audrey images that we wanted to re-create for her. This image was my favorite from the shoot.

• Boxing gloves. Two bright red pairs of Everlast boxing gloves in adult and kid sizes make for some amusing shots. You may question my latent violent tendencies, but these are everyone’s favorite—boys and girls alike. They are perfect for highlighting sibling rivalry or a father and son smackdown.

The most unique use of the boxing gloves was in a shoot I did with a boy recovering from brain surgery, which was necessitated by an accident at school. The boy (FIGURE 9.15) is the wild card of his family, and mom wanted to document this chapter in his life and celebrate his survival. The boxing gloves seemed like the perfect “you-should-have-seen-the-other-guy” prop. We used this image on the front of the family’s holiday card with the caption, “Dear Santa, I can explain.”

• Sunglasses. Several years ago I purchased four pairs of kid’s-size, aviator-style sunglasses: three in neutral shades and the fourth in pink. These glasses make any kid look cool, and because the lenses are only slightly tinted you can still see the kid’s eyes through the lenses (FIGURE 9.16). The biggest dilemma I face when using these glasses is getting them back from the kids before they leave.

• Alphabet letters. Using big, metal or wooden letters as a family’s monogram or for a photo that will be used in an album, holiday card, or birthday invitation adds a strong, graphic element.

• Superhero capes. Many kids’ favorite props are my collection of superhero capes. As Jerry Seinfeld said, “These aren’t superhero fantasies; these are career options.” The black Batman cape does double duty as a magician’s cape when paired with a wand, a top hat, and an extra large mustache.

• Hats. A stash of basic fedoras and panama hats in straw and black felt in varying sizes are also much loved among my subjects. Another of my favorites is a leather aviator cap with fur interior, as shown on the baby in Figure 9.2.

• Luggage. Trunks and suitcases are some of the best props to pair with either secondary or primary furniture props. They provide interest and context for a theme-ish shot, like the one in FIGURE 9.17, but can also act as platforms for kids to sit on without overwhelming the shot.

• The rubber gun. Inappropriate and politically incorrect on all levels, the rubber gun is a perennial favorite with boys. I use it as an incentive to get the other shots I want, because the rubber gun is rarely appropriate for a portrait. But sometimes that last shot that you do to “humor the kids” ends up being your favorite, even if it has a gun in it (FIGURE 9.18).

• Candy. At the end of a session I always offer kids a candy treat. Early on I began to notice that once they got the candy they exhibited a whole new range of expressions and lots of fun was going on. So, I’ve learned to keep my camera handy during the candy-giving phase of the shoot to make sure I don’t miss capturing any of the fun. Candy necklaces and jewelry can also add an entertaining twist to regular jewelry in a more conceptual shoot.

• The blankie (and thumb). Don’t wash it ahead of time (the blankie, that is).

• The pacifier. Most parents don’t think they want a pacifier shot, but I always do one and they always love it. (I may convert these images to black and white if the pacifier is an obnoxious color.)

• Legos or building blocks. Use colorful or plain blocks and have the child build something for you, or spill the blocks around the kids and shoot down on them from above.

• Toy trains or trucks. Let the child line up the trucks the way he wants them displayed for you to photograph.

• Favorite doll or stuffed animal. No matter how worn and dirty, bring the baby or bear as-is. Think The Velveteen Rabbit rather than a brand-new version.

• Dress-up clothes. Once again, let the kids pick their favorite ratty princess dress or scuffed cowboy boots. The wear and tear just makes the image that much more authentic and memorable.

Parents may dismiss some of these items as unworthy of documentation, but the images created with a beloved item become more valuable with every year that passes.

Other clients owned a chain of pizza restaurants in our area, so they arrived with hot pizza slices to use as props in their shoot.

Several shoots with pets later, I was hooked. It occurred to me that working with dogs and cats is the same as dealing with toddlers; the same tactics apply: Use lots of crazy noises (think meowing and barking) and distraction techniques (treats), and move quickly from one shot to the next. I approach an animal shoot the same as a kid shoot: I get the quiet shots first (FIGURE 9.20) and then explore the fun stuff at the end in case the animal (or kids) aren’t cooperative later.

In FIGURE 9.21 we created an emotional image of a little girl with her father’s combat boots. Her father was a soldier killed in the line of duty in Afghanistan when she was an infant. My client wanted to include the boots in an image with her daughter, but we didn’t want her to be wearing them or have the image make light of the situation in any way. While struggling with how to portray this concept, I simply set the boots on the cart where the girl was seated and watched to see what would happen. She turned back to see what I had set behind her and reached out to examine the boots.

Assemble your own creative team by consulting with your clients and collaborating with local boutique owners to help with styling and props. In no time you’ll be creating unexpected and intriguing concepts for your own shoots.