Lessons

Lesson Info

Shoot: Family with Grandparents

all right. The next family we've got is almost a replica. Just really interesting. Everybody moves differently. Unfortunately, we couldn't get the families in the order we want, but that doesn't matter. We just need to keep working through our scenarios. And one of the questions that I got asked by the girls as soon as we stopped was we need more about Cuvee mums, and we need to talk more about the man posing. So Lisa is our next mom, and she's also small. So I want to try and get a killing moment here so I can show you more. Kuby poses, so that will be the food segment up. But the Knicks shoot after this one. So this is a small mom, and her baby is 7.5 months old. So actually, come in, Lee said, about what? I'll get you to dough. You can come around this way is give Kelly your baby. Give away your baby, and I'll just get you to take your pink sweater off. Now you're in the photo today, so you don't have to sit down. And I'm just gonna take you through so pretty much the first thing I'...

m gonna do is get Lisa to take your shoes off. Um, I don't photograph feet. Very rarely. Do we ever see feet in the photograph in? People move so much better and defeat. Although I will look a hell two metres because of Metz, a giant then I can't really put her inflect feed, so I'll try. And if she's too short, I will get it. Put them back in the elevation. So mets a perfect height. So met you coming to I go. This? Yeah, and mets got Emma Amos three. Now you're gonna see an entirely different scenario around little girls. Okay, then, little boys really big difference in their energy. Although I've seen some pretty tear little girls, Aamer is not one of them. Come around this way. Guys said that, you know, in front of the camera, they incoming stand here. So even though they're the same scenario, I've got Mum dead. I'm really It's gonna be easy here because Lisa is smaller than met the same way right to a smaller than Tyler. But when it's the other way around, it's a lot harder, but I'm gonna take you through a few scenarios first then we're gonna do curves. Okay, The second question you asked, which was really, really important. Why did the dead's get so antsy when they come in for their family portrait? And how do you deal with it? Okay, because about 97% are really, really badly behind, all right, because they don't want to be there. I always say your marketing is to women because the men don't wake up in the morning and say, You know what, honey? Let's go and drop five grand on Family Portrait. It's but he knows it's exactly what's gonna happen when she see some insist that we have to get everything, and that's going to go now. When the dead's air into it, two things happens. One is the shoot is glorious, and two is they spend more because when he's opened up the sale, there instantly is a partnership speeding money. It will go up, and it really does. So how? I learned to deal with it cause when I was younger, I let them walk all over May, and I felt very intimidated when the men weren't happy. So the first thing I did was, um, women hit this incredibly bad habit, and a lot of women do it off, not introducing the husband. So they walk in and they've talked to me on the phone and they'll say Hi. So here we are here, the kids, and he's standing back there usually with a grumpy look on his face. And I don't know whether she's blocking him, ignoring him cause he's being baby behaved or what? But you know what? This is where women should say, This is my husband, Matt. And this is where I is. A business owner and a photographer should walk up and go high met. I'm so nice to meet you, too. I love you. Glasses. Okay, so straight away, I've gotta connect with Met. He's not met me. He has no connection to me, is a photographer. He maybe has even seen my website. He's been told to tune up. He's turned up, and now I have to take control of the situation. So I found that the more directly I went to met. At first I would just interact with the woman and try and pretend the husband wasn't the F because I was very uncomfortable with it. That whole situation you were talking about. And then I realized that I needed to go and connect to Matt. Then I lent this. I read one day that if you call somebody's drama, they break the drama. So if you say to somebody why you soaking, they'll go. I'm not soaking in straight away. They'll stop. And so I thought to the boys I would say hi made. I'm so I know you don't want to be here today, but don't. I'm gonna make this really fast and painless and straight away the boys would either go. Oh, okay. What? They go, I want to be here and I go great. And that's straight away. I addressed the fact that they were obviously not really that interested in being there. It's not that they're not interested. Do you know how maney, in my early days family portrait I took without mean and then they would get the portrait in the mean would come in and say, But you want to put a big one on the wall? I'm not in them. And the women would go. We didn't want to come. What is it? What is that? And you know what it is we are marketing to him through her. So you need to educate her to educate him on what's gonna go down. Don't just leave it up to I don't want to do this. We're busy. This is how it speeds of business. Don't let it be there because she's emotionally connected to you. She's like, I want my Children photographed. I want to be photographed. I've found a photographer I like. She's connected, He's not connected. So educate her to connect him. And so when I do this consultation with here, I'm gonna go. Lisa Metz not here right now. So he's, you know, gonna be like, Is he into this or not? And she's gonna either say, Oh, yeah, Met loves your work. He looked at your website. He loves your work. He's really excited about it. I'm ground like great, But if she says, Look, he's just gonna to Now I've got to say two things. Tell him how it's gonna go down. Tell him about the studio. Tell him you've met me and the sort of photographs we're gonna take from your consultation. Tell him how much my portrait's cost so he doesn't freak the hell out afterwards when he gets the priceless and make sure you educate him on how much it costs and how much and what's gonna happen. And if she does her job, Mets gonna be comfortable when he comes in. All right? That's how I deal with it. And also, this is my space. I'm a creative and I'm a business Sina. And I'm here to take the best family photographs that you've ever seen of yourself. So my job is to try and do that. It's fast and efficiently as possible, but I'm not gonna be fluffy with him. I'm not gonna lie to him. I'm like most people tell me that. Rather go to the dentist and have the photograph take in that I'm addressing that straight away and I'm taking control of it. All right? And teams of Kivi question, which was a great Christian Nick Sigman. Okay, for now, I'm just gonna repeat a family pose. How come of these little girls? They cut the willies off the smart ones. Okay, so if I followed the same Matt and met, you come and stand here with me. And so mets right here and he's facing that way And then if I follow exactly the same map that's up there infects that you can go, I'm gonna put Lisa into the light. So Mets facing away from the window, Lisa's facing the window. You just let go of here if she wants to come with you, just leader, but just walk around. So I will ignore the toddler straightaway because they'll go to mom and head straight away. They don't need me to do it Now look how Big Meadows. So I think I'm gonna have to get Lisa into issues cause mets a big height there so she could go back into a shoes and give her little We'd better height thing is a really good time to give him something to play with. If you just gonna do baby shots, you know the new baby. So you know the rule, right? When you have a first child, that's probably about 1500 photos of him in the house. And there's probably, you know, about three. I know this one because we photograph our first child and then we just get tired and busy and we don't forget we figured about the second child and this this role like when your first child falls over, you go for a cat scan. And when you fourth child swallows a coin, you say that's coming out of your pocket money. And that is so true. So I kind of think we have this way off like this. Little winners like, Okay, you're the prodigal child. You will be forever. My big sister's exactly the same. All right, But the truth is, is we want to get a beautiful shot. A baby. So little runaround. Not a problem, not a problem at all. You can hope that. I think it's gonna have to be Manalo. You can hope. Manalo. All right, so exactly the same rules apply. I joined them at the back hip and the arm goes around each other, but their body language goes towards each other. So then a no tune Mattoon back to here. It's it now meant go in a wider men's dance. OK, but towards Lisa not may notice how everybody poses to the photographer. We turn our hips l feet in her body towards the photographer. And really what we want to do is to knit towards each other because you're a couple in the body. Language needs to be together so towards each other a little bit more, and men take a step back that way with your foot. That's perfect. Then when they connect in their hands in the front there, there and there. Now, at the moment Lisa is leaning back and she's risking her chest. I met like that in a couple position, but I want her feet toe wiggle in. That's it. So she's more upright than her hips are engaged in the body language as a couple is closer now Mets that little wee bit taller than here so I can get him to do two inches wider and his foot stance without bending his knees, so go wider and it drops him down the ago. That drops him down just enough. Then I can get met to bring his chin around, and they connected right there. Now, again, this is where I start with everybody. It's the same love hot. I do this with all couples. Newborn can go into here are bigger. Baby can sleep on the cheapest midsize baby. We're getting into the 7.5 months here, so she's only a little She's two months older than Connor, but she's about the same size, if not more. But she's going to be different in her indirection because she's a little bit older. So we'll just let the Matile out, and we're gonna put her in. All right, So what you have to do, man, is pull away a little bit from Emma. I'm so there's a get between you this way and not you two separate. No, no, no, no, no. Keep your body. They're just move back. Everything. Get away from him, okay? Just eat back. Stay in the position. That so I'm gonna put it between you say Okay, I admit you can hold it. All right? So, straight away. Remember your focal point. Really important. Look how she sits into Mets arms. There. Now she's sitting a little bit higher than when Tyler head. Connor, She said, inquire. So I'm gonna try and get their faces together. All right. So she's gonna look this way, and you're gonna look this way. So you just put what she wants you to in her around. Don't worry about it. Oh, thanks. All right. So I'm gonna be here now. The three if you just need to come into my backdrop that way. Thank you. I came met your post to May. I need you to turn your body this way, so step towards me a little bit more. That's it. And rip your arm around Lisa in the front. Alright, Bring your chin forward. Meant Okay, so bring your chin towards meet the hats. The one Lisa, you need to bring your chin Ford. That's the one. Now what's her name? Gracie. Gracie. All she knows her name, right? She knows her name perfectly OK from here, right? All I need to do now is get you. That's it. To go inside his arm there. If can you hold her with one arm? I know it is gonna be heavy. So you're there, and I'm gonna try and get Gracie. So, Lisa, chin to your shoulder. Good girl. Drop down. That's the one. Gracie. Gracie, What you got? What you got, Gracie? Because he was this. Oh, smiling *** met. I need to connect to at the top. So what I need you to do is I need to walk your hips in. That's it. And I need you to tip your heads together, you two. OK, Gracie, I so liver. Oh, you're so clever. Met? Stay there. You need to see you're not connected there. I want you to bring your chin forward. That's it. So can you drop her down a little? Weep it, Lisa. That's it. Gracie. Gracie! Gracie! Okay, I just need her hit or your chin forward. So in there. That's it. Come up here. Crazy. Gracie! Oh, hi. Hi. Beautiful gear. Ah, trying it. That bottom foot. And they're dropping that shoulder down for me, Lisa, and bringing it forward. Just your shoulder. Like this in your chin. Good girl. That's where you are. Gracie. Gracie! Gracie! Gracie! Gracie! Okay. Met and Lisa. No smile. Just a tiny little tickle of aspiring your eyes and both of you push your chin forward. That's it. Ford Mets to come towards me. So met your very upright. I just want you to do this. Drop your front shoulder to May. That's it. And now you to tip together and pull Gracy back. Okay, Gracie. Gracie. All right, there we go. There, Gracie. Uh, good. Seo. Give me a big smile. Come on. Give me a big smile. great. Give me a big smile. Good. G O Gracie, Little faced a There goes. All I need is one I've got you on I've got you on All I need is one from here. Gracie, come on. Oh, my big smile with my picks My oh, pretty kill my big smile Chrissie. God, Gracie, come on. Don't get a Yeah! Get it, boy. All right, The date. One shot. Ah, you're perfect. Good, Gil. All right, just watching this. Relax your shoulder, Lisa straightaway. I usually crop these images square, You know, like I love square images. I'd spent the foods 12 years shooting on a Hessel. Bled for May. Swapping to square is absolutely perfect. If I leave Lisa here and put met behind here, I'll change scenario straight away. So go behind him it Now I want you that you can put both arms around here now Go behind him. This way. That's it. So just shuffle forward. So you're taking Mets place? That's it. And now meant Put your arms around, Lisa. That's it. Now, first thing met did put his arms underneath your arms. A case or her arms have to go on the inside in. The only way you can do that is to not make the dominant arm in the front. So she has to pop it inside there. That's the one. Now when she pops it arm, and there it brings. Met in. Now I can bring them around in a rotation like this, okay? And she can take Gracie Beck in her arm, so take it to the back of your arm. A little bit more are the ago. Now their faces a more together now met looks uncomfortable. So he's gonna drop his shoulders, the K and uses arm circling around. Now you're more concerned right now in structure. So you're holding her bum. So what I want you to do is just pull out one hand a little bit more and then pull your body back just a little bit. Your body. So everything not just your face and then bring your face forward. That's it. More, more stop. Now he's engaged. Now, instead of looking uncomfortable on holding everybody up, he's going to come in and around the family. Then he's gonna bring his chin along the way around to the front and tip onto Lisa yaps around to the front. This way, George. Fortune. Sorry. There and now tip onto Here they go. OK, and now I gotta get Gracie back to your bet. Com The ago Now they're the same plane. I'm gonna go a little bit closer, and now I just gotta get breaking in there. All right? So for your body, Lisa, I want you to come up onto this toe your back toe, that's it. And kick your booty back that way. Good girl. Now met your open over the top. But I just need you to pull everything back just a little we But that's it because I don't want you in there into the back of you the ago. So now I just gotta line them up now is gonna get Gracie in here, and I'm gonna shoot this horizontally so I can shoot. It's queer. So at the moment I am shooting on 2. have been nice. Big smile, you three. Uh, I'm just waiting on Gracie. She doesn't know what to make of us. Yes. Good deal, Gracie. Uh, Gracie kick. I will. What the Gill Nicely done. Okay. From here, this is something that I do all the time. And I actually think it works without anybody holding Emma. I'm gonna put me here now. I'm not gonna put him out on the ground. She's gonna be too little when I don't like shooting low income and stand up on the special box. Yeah. Can I take the baby? I'll leave the baby over here and you can come and get the baby afterwards. You're very beautiful. Oh, thank you. Okay, men, I'm just gonna slide this back into your foot. And now Gracie's gonna put you here, man, I want you to put your arm around here so you go back and laying on Daddy. Now, that's just enough to bring her into my square frame. Okay, so you come around here and lean on to Daddy. That's a going your whole. Did he speak? Can be a the Ghar. Okay, so I'm just gonna put here in a box, and I'm gonna shoot this here. She's on here. You just get Gracie. Now. I need you to work your booty again. Met? You're pushing your chin forward. So you're pulled back with your chin. Push forward. So you're not so tall. That's it. Perfect. tension. Good boy. Lace action. Okay, now, Gracie. Emma, you're perfect. Okay? Absolutely perfect. Uh huh. A member member on cropping this square. So I'm going to the square here. Christine Gracin. What's this? Hello. Great scene. Now, Emma, I know that you Mitt Landon in the green room and that he's really cute. But if you marry him just now, he runs around like a madman, Okay? She was like, really I was not that in tow. I love it. Okay. For May, I'm going across the square. Now. The one thing we do here is we have whose mom and dad yours? Yeah. Yeah. So we have George. Enjoy. And so what I want to do now is show you this. So in this position right here, I'm gonna put George around here. Hi, George. Welcome. Hi, Joy. Come in to come around the side. They were not crossing that camera. The George I want you to come in and hold your bills here. Yep. So this is Lisa's dad. That's it. And then I would like you. Well, actually, you know what? You can stay with George, so I'm connecting. The couple's here now, so I've got them together. So I want them around nice and close. And you're coming cuddling into George. And I want you to bring your chin around this way. No wonder you have a beautiful daughter. Apple never falls far from the tree. All right, now, now what we want to do, everybody's perfect. But see how George is leaning. Oh, my God. I just looked Gracie. I just call it Georgia. If I mean chronic now, because you're George. Okay? Gracie is getting tired, so I need to get Lisa hiker a little higher. Just an inch. That's it, George. You're gonna push into both of them. So if you put your arms around the girls here, actually, you could just put your hand on there, and then you come and nice and close to him. George, I just need you to bring your chin forward. That's it. And you bring your chin for this way, Joy. Perfect. All right, Now we'll get Gracie. Okay, so the adults are all well behaved, but have a look at this. I've got joys, body tuning outwards like this, and it doesn't look right, does it? Okay, So you doing good? Just step your feet in. Remember, everybody's feet must be posed in the body language position, not in the camera position. Everybody does the same thing. They engage their hands in the face, but they don't engage the lower half and instantly looks disconnected. You can see in this shot that met leagues look comfortable. Email looks comfortable. Lisa looks comfortable, so just watch that everybody's not doing there now. George has done that. Everything that the other two men have done this morning, he's standing upright, but his speaking go apart a little wider. So, George, a little bit further because men have man stands, man stance looks strong. And so when his speak o wide and you can stay in here now we're losing Gracie Gracie in the whole daddy's hands. Okay? Said this is a beautiful three generations family. I'm gonna shoot just off the backdrop because I'm going to go square now. George. Lisa, come into Gracie. Mom, come away in. Gracie. Gracie, go in your just like magic. You're so perfect. Okay, let's change over joy. You would go with Georgia's and you cuddle into the girls. And, George, you circle here. So from here now she is getting heavy for you. Okay, You got strong arms. Okay. And the you go right there. So these ladies are all around the baby, so cuddle in nice and close. I need to get as close as you can. So you put your arms around them, George, you put your arm around to it. And I just need you to bring your crazy or you put your arm. Actually, you can bring your arm here, George, like, on her waist, that on a hip lower. And then I want you joy to bring your chin to May and come towards the girls. Okay? Who bet? Don't worry about that. And, George, you come into so Okay, now watch this. This week's with everybody. Joy, put your foot back through. No, your left foot mirror me no left foot. Your other lee foot? Yeah, put it through the back. No threat. That right? Just Samos may like that. Yeah, And now take your booty away that way. Good girl. Yeah. Okay, so now bring your face forwards. Note to me To me. You got it now, George, come in. Nice and close the ago. So we're squeezing in nice and tight everybody okay? Not lying down on people. What I need you to do is walk your feet in because you two are over like this. And that's another thing we don't want to do. Nice and close. That's the one. So, Joy, bring your chin towards George this way. And, George, bring your 10 forward techniques. That couple connect. This couple met. Come down, Gracie Joy. Come forward with your chin. Now I'm watching six people way crazy. Oh, goody. Good. Now, good girl in my sleep. Done. Okay. Stuck right there. So now stand up. If everyone relax, just for a minute, you can give the baby medal change arms or something. That's why I talk this out. Okay? Have a look at this. I know. I got one. Were Grazie. Gracias. Fanning it may. Okay, Joyce blinking. Gracie's. We got one with Gracie. All right? Now, when we come back to this image here, we've got them all to give. The first thing I'm going to do is get the boys in, emit a walk away. Okay? So get the boys and Emma to come and sit down in my go and sit on Rich here with the baby. Emma, you better look after Manalo Can sit up here. All right. Now, this is when I do this. Three generations for May is absolutely beautiful. And I do this with the boys. I do this with the girls. I just feel like, um, it's the one shot. I look at it like this when I look at my clients and talk to them. How do you joy? It's 50 your 57. So one day she's gonna be 57 you know? Well, you know what? No. You're just gonna be 100 and 14. 421. Yeah, And by the time we get to the air will be really good. Bo talks, and you'll probably look exactly the same. You maybe, just, like, smell funny or something. Yeah, and I look at it like that. So this put this shot to May is for her when she's a grown up girl and she goes, this is my mom and my grandma, right? And it does not get better than that. That, to me, is perfect. So, Lisa, I want you to come around the other side. Joy, get rid of that. Come on. The other side joy around this side. Yeah, and I want you to tune and cuddle here. And I'm going to repeat the exact same pose that I did with Met the two of them together. OK, so there, between the creating a love heart. Okay, you just need to bring a forward to your faces to give out that to Gil Joy. Come up beside now, Joyce posing her feet towards the camera. So stand with your feet apart. Not yet. Let to go. Okay. Gracie. Gracie. Oh, okay. Joy tune. Let me do here. Okay. You to push your heads together, okay? And I'm gonna get this now. Gracie. Lisa Chin! That's a girl. Beautifully done. Stated Gracie. I got Hang on. Hang on, Gracie. Okay. From here. Don't hold her. Hold them. That's a girl. Beautiful. In a bit lower, Gracie. Okay. Hits to get a pushy hidden. That's it, ladies. Gracie who? Lisa Chin And turn your body. Open it up to May. Now hidden that. Bring those girls towards you, Gracie. Gracie, talk to me. You We'll be quick. We gotta get you Gracie's question. Lady squish around and we'll get her ready. You get really emotional here! Out! Get Hyperba! Oh, big smiles, Lisa tipping head down to them. Nice. Okay, No smiles, ladies. Just relax your mouth. Tiny little Smith. Now I like it. I like it. Leave it, Leave it. She's too serious. And that's fine. Okay? And so I did one without his smiling. And I don't mind to him being there as long as it's not in her mouth. I'm always I always think smart to myself. I always think to myself. I'm sure I need a beautiful photo of George and Joy. I need a beautiful photo of George enjoy. Because they're now part of this family portrait. Titian, George enjoy going to come to the viewing session. They're going to get, you know and then and pop album. And so I need a beautiful photo of them because that photo is just a important. Then I've got to get a really beautiful photo of Met Lisa, and then I've got to get the individual photos. I've got to get Lisa and Gracie. I'm gonna get met. Gracie, I've got to go through every one of those scenarios as fast as they can. And remember, I'm still on the brown background. So I've given you all of these options. So let's just I look at it like this before they change their clothes into a darker outfit or do anything different with their with the Knicks, it off clothes. I need to take a theories of photograph that cell as a Siri's so I can crop them differently. But I'm gonna do everything on the one background so they could potentially make a wall like Kelly's. So what if I took an incredible shot of Gracie on her own an incredible shot of him on her own, met and lease it together and then George enjoy together and then generations and then the family shot? I've already created a gallery that's on the wall, right, and that's I'm shooting to sell that gallery. It is the most important part