Lessons
Introduction
08:41 2The Evolution of Family Photography
24:54 3Defining Family Photography Genres
14:36 4The History of Photojournalism
23:30 5My Rules for Photojournalism
13:49 6Embracing the Unique
10:30 7Developing Personal Perspective
28:30 8Healing Through Photography
13:41Student Image Review
20:30 10Setting Expectations
27:58 11Waiting for the Story
15:40 12Working the Scene
35:03 13Shooting the Morning Routine
18:11 14Afternoon Routine
11:04 15Evening Chaos
23:47 16Bathtime and Storytime
12:36 17Q&A
12:11 18Getting and Maintaining Clients
11:41 19Marketing in Your Own Way
10:03 20Final Product and Delivery
22:18 21Student Website Review
11:47 22Contact Sheet Review
07:50 23Image Reveal with Family
19:58 24Critique: Anticipating the Moment
25:45 25Critique: Composition
05:08 26Critique: Isolating the Moment
10:21 27Critique: Watching Edges
03:43 28Critique: Squaring Up & Picture Choice
21:06 29Critique: Getting in Close
06:33 30Critique: Defining the Subject
19:16 31Critique: Cropping
04:28 32Critique: Photographer's Perspective
05:39 33Critique: Light
07:11 34Personal Fears
18:41 35Professional Fears
16:14 36Taking Risks
23:45 37RAW Image Culling & Critique
25:09Lesson Info
Afternoon Routine
We're just gonna go right into the next... We returned the next day, so I started off when we go to pick up the kids at school. So we really haven't missed much of anything. We're gonna talk about problem solving, continued interaction, kids getting hurt and how to do that. And being deliberate with your shooting. So we're back at the family's house. We wrapped up yesterday in the afternoon and I was really excited with what he got. We got some great morning routines: breakfast. Probably my favorite was the bathroom time with all the kids. All four girls around the sink, trying to brush their teeth was pretty fun for me. And, most importantly, I already gained a lot of trust from the kids, so making today's shoot a lot easier; they're really use to me now. There's been no issues, since we got here. They just let me shoot, which is great. The afternoon I love, specifically 'cause a lot more real-life kid behavior starts to occur. Usually towards five or six o'clock. We'll probably have ...
a couple of meltdowns. Really, I'm looking for just really regular routines. So, dinner, usually bath, getting their pajamas on, reading stories, going to bed. All lend itself to just great real-life moments that I don't have to even work real hard to find. They just present themselves to me. So, looking forward to the second half of this day. No she scratched her head. She decided to go skating in her-- So what they've told me, is that Gwinnie has this strange ability to not cry when she gets hurt very often. And we had just been talking about this. So I have it in my brain that I know that, she can smack her head into something, she's totally fine. What I'm concentrating on right now, even though Adelaide is acting wild and feral. I really like what's happening between dad and Gwinnie. So I'm focusing on that right now. And I'm trying to find the right composition, so I can get both of them facing each other so I can see action and reaction, is very important. One of the ways you can do that is by getting them both on the same focal plane. Notice how I'm waiting, I'm not shooting. I'm just watching in my camera. I'm not carrying you-- (laughter) Daddy's ears, huh! Yeah. (laughter) (Toddler mumbles) I know. You might have to get her like a little kid one. Camera? Yeah. We had a little one from (mumbles), a little point-shoot. She loved that-- Notice during the conversation, if I see something interesting, I go and shoot. I'm talking and shooting at the same time. (rapid clicking) When you were little, grabbing and throwing pots around. No don't take 'em off. I need them to see. I'm being patient. I'm not moving. [Speaker As Photographer] So far none of your kids need glasses right? I think Leona does. We have to take her to see the doctor. Yeah, I put my glasses on her a couple of times, and she's gone, "Oh I can see better." We were 10, I think, when we started to get glasses. Both my sister and I. How old was I? I think I was like eight. [Instructor As Photographer] Oh you were young. Yeah. (laughter) You're ticklish like your big sister. Oh there's another down here-- Yeah, I didn't know I can see (mumbles). (Child laughs) Okay, now he's puttin' her over, so I'm going to move to the other side to show this. (child laughs) You're gonna fall, kiddo. (bump) And that's her head. That hurt bad. Oh baby. But I'm right there shooting. I'm not shying away from it. She's gonna be okay. And I know she's really hurt, 'cause she just said she never cries. (crying) And she's the one that doesn't cry much when she get hurt, right? Keep cryin', it hurts. (crying) So I have two objectives: I wanna show the tears and dad being comforting. Come on sweet pea. You're okay sweet pea. (crying) [Instructor As Photographer] Aww! You're okay. That's why she was gonna be a bit of a stinker. Gotcha, tired. (clicking) [Instructor As Photographer] You okay sweet pea? You okay? I know. (camera clicking) I know. Trying to move to fix my background also. I was trying to make a larger one, my calculations did not add up. My calculations were very off. I was like, oh, it's lopsided. So I had to start over again. I was gonna say, if it's a size thing obviously it might be bigger than, most kids her age. Yeah well-- (camera clicking drowns out other sounds) So we're gonna talk about meltdowns and just like how I addressed her getting hurt; and I didn't panic, I wasn't shy about it. I still shot it. Because I knew that she was gonna be fine. The same goes for meltdowns and I actually love photographing them. 'Cause they're visually very interesting. But at the same time, I'm not poking the bees nest with it. Like I'm not trying to make it worse than it is. All I'm doing is shooting the meltdown. Climb up. Alright, come on. (camera clicking) One, two, three, wee! One, two, three, wee! (laughter) [Instructor As Photographer] Aww! (infant crying) (camera clicking) Hi. You got it. Yeah. Good. She's also putting the horse up her nose. If you can see that. (Camera clicking) Trying to work through this. (rapid clicking) (laughter and crying) [Instructor As Photographer] Sometimes that's the only way you can get (laughs) to school. So what they're doing is picking up their sisters. I'm getting ahead of them and shooting them coming at me because nine times out of 10, the backs of kids are not interesting. That one child with mom, holding her, was. Oh this is good. Come on. Gwinnie was not having a good time. Come on. She's trying to walk (laughs). She's trying to walk the line. When I'm in school, I'm shooting like I'm suppose to be there. Unless somebody asks me to stop. I'm in front of them again. And be the worst mom, because the meltdowns make me laugh really hard. (laughing) It's so ridiculous to me. Now she's dragging both. But I'm just waiting for trying to get them in the car. Rainbows. I know I don't have enough room or space. [Instructor As Photographer] Do you know why that is? Why? [Instructor As Photographer] I think it's oil. Okay, later on in the car, which I don't think Chris videoed, they all started screaming at the same time. And I looked at the mom and I was like I'm pretty sure Chris is on the phone right now, with his doctor scheduling his vasectomy (laughs). All out of control.
Class Materials
Bonus Materials
Ratings and Reviews
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Kirsten is an incredible teacher. When deciding whether to purchase this class, you should first take a look at her first CL class--Modern Storytelling. It's the best way to dive into this material and is a good starting point. If you're interested in this genre, buy BOTH classes. Both are so packed with helpful information about the family photojournalism genre. The first class was a solid, well rounded introduction to family photojournalism, and this class is more in-depth, specific, direct, intense, full of composition technique, and really just takes it to a new level. She doesn't waste time in this class repeating all of what she taught the first time. Kirsten is very candid and personable which I find really helps us viewers learn from her authentically and enjoy the class. I feel like I know her from watching so much of her class and I know that helped me to connect with the class and understand the material better. I feel like I finally have the tools to really tackle this genre and a better idea of what I'll face. I HIGHLY recommend this class--BUT only if you have an interest in this type of photography. THIS ISN'T A CLASS ABOUT MAKING PRETTY PICTURES, IT'S A CLASS ABOUT CAPTURING REAL MOMENTS IN A BEAUTIFUL WAY AND STORYTELLING THROUGH PHOTOGRAPHY.
Image by Marcy
I'm adding my review in hopes of giving some perspective to the few negative comments. I've been a fan since Kirsten's first course, and have been hankering for more ever since. I wish the viewers who decided to jump ship before watching the whole course had reconsidered, and hung in there. Here's why. Kirsten describes this class as more of an "advanced" class. To my way of thinking, it's an excellent adjunct to the first. I took notice of a good bit of the questions in the chat room on CL while the class was live. It was clear to me that there seemed to be plenty of viewers who had not watched the first based on their questions. To get the most benefit, you really need both courses. There is overlapping content, of course. But there is specific and pointed information that was really only generalized in the first course. Invaluable is the segments that were taped live at a family's home, where Kirsten shot a DiTL. That filming was shown and dissected in this new course. VERY informative. To put it succinctly, yes, there is some repetitive info, but necessary to bring it all together, and yes, new content. YES, the front end is a bit heavy on the personal. If I remember correctly, that viewer choose NOT to stick with the program, which is fine. BUT, had they stuck with it, that person might have had a change of heart. You see, I think you have to take all the information in it's entirety. Because, the openness, the vulnerability, the honestly to me is *endearing*, for one thing. But also, she definitely USES that personal information in the context of her teaching. Listening to her personal experiences (KLB's) gives US an opportunity to look deep within OURSELVES and CONFRONT our own past. OUR PAST is what shapes our future, good, bad or indifferent. We can allow our past to propel us to success, or sink us in despair. Either way, our past helps form our POV which is very important for our photography (as well as how we approach or avoid life in general, and affects us in business too...) I appreciate her honesty. I appreciate how she shares her struggles, both past and present. Both personally and professionally. For me, the whole package is more important that the individual "pieces". Who knows about that viewer.... maybe this genre is just not their thing. Maybe that person wants or needs to shield themselves from their own personal issues. IDK. Also, it's just a fact of life that *not everyone will LIKE .... ___ (you, me, her, etc). Whooo knows. That's their right, their choice. And it's true that this genre is not for everyone. But if you love it, then get the course. If you missed the first one, then get them both. You'll be happy you did, and you'll have saved yourself time and frustration trying to figure this out on your own.
Meredith Zinner Photography
She is outstanding. I love her candor, honestly, openness and extraordinary eye for talent. I love how true she is to herself and how fiercely yet seamlessly she works to show the truth and people's real stories. I love how she is a real person and shares true stories about herself that keeps her human. I'm so tired of this culture being so damn 'precious' about a baby's bottom fer crimmeny's sake... she's extraordinary, refreshing and unlike anything else youve shown. She's got an incredible eye, sense of humour, talent and so much to share with her very thankful audience. Thank you so very much! Thank you Kirsten!