Master Posing Guide

Amherst Media®

PUBLISHER OF PHOTOGRAPHY BOOKSNORMAN PHILLIPS

FOR CHILDREN’S PORTRAITPHOTOGRAPHY

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4About this Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Contributing Photographers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

1. Babies and Toddlers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Birth to Five Months . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Six Months to One Year . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16One to Two Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Two to Four Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

2. Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52Girls versus Boys: Some Observations . . . . . . . . . . . . . . . . . . . . . . . .52Boys and Girls Four to Five Years . . . . . . . . . . . . . . . . . . . . . . . . . . . .53Girls Six to Eight Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62Boys Four to Six Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73A Final Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

3. Preteens and Teens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83Girls Nine to Ten Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83Girls Eleven to Fourteen Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86Boys Seven to Thirteen Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

4. Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95Small Children and Babies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95Groups of Girls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102Groups of Boys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107Boys and Girls in Pairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112Mixed Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

CONTENTS 3

Contents

Introduction

There are numerous books on the market thatare devoted to posing for portrait and weddingphotography, but this may be the first that

deals with the more challenging task of posing children.When I suggest that posing children can be challeng-ing, I think that many of you understand exactly whatI mean. Oftentimes, the notion of posing children is amisnomer, especially when we are working with littlepeople yet to reach their third birthday.

Working with older subjects who are able to under-stand some direction is generally much easier. But thosetiny subjects have little or no concept of what we areaiming to achieve, no matter how much we apply ourexperience and manipulative skills. Another reason forsome of our difficulties is that the youngest of our sub-jects have limbs that appear not to be connected totheir owner’s brain and gesticulate and make signs thatare entertaining and often hysterically funny, even ifthat’s not what we want.

As we work our way through the various age cate-gories, we will demonstrate ways to overcome most, ifnot all, the challenges by providing practical methodsthat at least give a place from which to begin.

Though the chapters are organized into discrete agecategories, we must remember that there are oftennoticeable differences in each subject’s physical andmental abilities. As such, we need to assess each subjectand not assume that because they are a specific age theywill be like any other subject of that age.

About this BookIn my previous book, Professional Posing Techniques forWedding and Portrait Photographers, I included a brief

reference to posing children—and as you work throughthis book, you will see that this is because posing youngsubjects is simply not the same as working with adults.In sporting vernacular, it’s a different ball game.

At print exhibitions and in books dedicated to chil-dren’s portraits, we see some beautiful images. Yet mostof these do not show us how to pose little people in apractical manner that also evokes our emotions andmakes moms, dads, and grandparents ooh and ahh.

In this book we will review many options and ideasfor effectively posing children—from babies throughearly teens—and will consider the philosophy behindposing young subjects. While many of my own imagesappear in the book, many of the portraits herein werecreated by other highly competent and successful pho-tographers and, as such, you will see a wide array ofposing ideas that are reliable and very workable.

As you peruse the images, you will see that a varietyof props and backgrounds have been employed.Remember to make your images with props and back-grounds that appeal to you and your market so thatwhat you produce is representative of your photogra-phy and not simply a carbon copy of others’ images.

If you are like me, you undoubtedly take great pleas-ure in working with children and babies. With the helpof this book, I think you will find that photographingyoung subjects will become increasingly enjoyable andexciting, and your portraits more successful.

Contributing PhotographersWithout these talented contributors’ images, this bookwould not have been possible. Their images will helpyou to recognize the level of expertise and creativity

4 MASTER POSING GUIDE FOR CHILDREN’S PORTRAIT PHOTOGRAPHY

that photographers are now bringing to children’sportraiture.

Joanne Alice. Joanne Alice has four Best of ShowAwards from Chicagoland Professional Photographer’sAssociation (CPPA) and has won the association’s cov-eted Print of the Year Award four times. She has alsoreceived the People’s Choice Award at the association’sannual convention. Joanne is the four-time winner ofthe CPPA Hoyt Portrait Award and is a CPPA CertifiedProfessional Photographer.

Kerry Firstenberger. Kerry Firstenberger hastrained with and worked alongside Norman Phillips fornine years. She has hung prints at WPPI print competi-tions and has won First Place Awards from CPPA.

Sam Lanza. Although Sam Lanza has not receivedhis PPA Masters degree at the time of this writing, hiswork is of an exceptionally high standard.

Karen Rodgers. Karen Rodgers is a PPA MasterPhotographer with numerous awards including Pho-tographer of the Year, Associated Professional Photog-raphers of Illinois Top Ten, and PPANI Best of Showribbons.

Cindy Romano. Cindy Romano has a PPA Mastersdegree. She is also a PPA Certified Professional Pho-tographer and a PPA Affiliate Judge. In 2005, she wasone the Top Ten photographers in Illinois. Cindy hashung portraits at Epcot Center and has had prints sel-ected four times for the PPA Loan Collection.

Julia Stotlar. Julia is the daughter of master photog-rapher Karen Rodgers. She has clearly inherited hermother’s ability to create outstanding portraits.

Wendy Veugeler. Wendy Veugeler holds a PPAMasters degree and is a PPA Certified ProfessionalPhotographer and has a Fellowship with PPANI. HerAwards include the Kodak Gallery Award, Fuji Master-piece Award, PPA Loan Prints, and PPA Photographerof the Year Award/Silver.

INTRODUCTION 5

covered by a blanket. Important here is that baby’s feet protrude fromunder the cover. This provides mom the ability to see those precious feetand also lengthens the portrait, a feature that will enable us to enlarge it toa wall-sized portrait. We brought in some artificial flowers to add color andtexture to the image and enhance the composition.

In plate 4, we have a different view of a baby laying down in a similarset. The camera was positioned at the baby’s eye level. We must be carefulnot to expose a baby’s private parts to the camera. To prevent this, weplaced a blanket between the baby’s legs and drew it over the far hip.

8 MASTER POSING GUIDE FOR CHILDREN’S PORTRAIT PHOTOGRAPHY

Top—Plate 3. Bottom—Plate 4. Photos by

Norman Phillips.

In plate 5, we have a portrait of a naked baby about four months old.The angle of view we used in this case prevented us from exposing to thecamera parts of the body that we should not show.

Plate 6 shows a portrait of a baby positioned in a bassinet, a supportiveprop that works a little better than a basket when the baby is alert andactive. The bassinet was covered with soft quilts to maximize the baby’scomfort. This arrangement allowed for a nice presentation.

Plate 7, a portrait by Sam Lanza, shows how the bowl shape of a scalecan be used to hold the baby. Sam placed a blanket and a pretty pillowunder the baby to ensure the little subject’s comfort. While white acces-sories were employed in this case, you can certainly tailor your choice offabric and colors to suit the baby’s gender or the parents’ decor.

BABIES AND TODDLERS 9

Above left—Plate 5. Above right—Plate 6.

Photos by Norman Phillips. Right—Plate 7.

Photo by Sam Lanza.