Announced yesterday, the 7D is a very interesting camera.  

On paper, there appears to be a lot to like, including:

• A totally revamped auto focus system, with 19 cross-type sensors. Assuming it works, it appears to be the most advanced auto focus system on any Canon camera - in some ways even more sophisticated than the 1-series.
• A totally new sensor with improved signal-to-noise ratio.
• A bigger, brighter viewfinder with 100% coverage.
• A new metering system.
• Integrated infrared off-camera flash trigger system.
• Better weather sealing.
• Movie mode that's a significant upgrade to the 5DmkII.
• Two Digic IV processing chips for significantly faster operation.

In my previous posing tutorial, I wrote about posing couples.  I pose kids much the same way.  However, since kids aren't just small adults, you have to make your poses extremely simple and you've got to shoot FAST!  Otherwise, kids - with their short attention spans - will easily lose focus and get bored.

So the bottom line is that you have to keep kids moving, keep it fun, keep it simple and don't fiddle with your camera.

This isn't photojournalism. Every image you see in this post is posed.  In other words, it would not have happened without my specific direction/instructions.

(1) 30D, 24-70mm f2.8L, ISO 160, f3.2, 1/400 sec.  This shoot was done on a perfect fall day. The adorable girl's red hair, freckles, and red sweater look great with the leaves. I wanted the leaves and grass in the background, which means I stood tall and shot down. Props work great with kids. In this case, the girl was proud of this little pumpkin she decorated. I asked her to display it to me in her hands. The great expression on her face is her sheepish pride.

(2)  5D, 70-200mm @200mm, ISO 500, f3.5, 1/500 sec. Parents love cute. Tattoo that on the palm of your hand. If it's cute, they'll open their wallets.  Having the kids peek into little openings in walls is a winner. They'll think it's fun, which will get you nice expressions.

(3) 5D, 70-200 @200mm, ISO 500, f3.5, 1/1250 sec. The child doesn't always have to be looking into the camera and smiling. A very "kid" thing to do is to stand on things and balance themselves. I asked this little girl to stand on a rock, then stepped back and shot at 200mm.  I positioned her in my favorite lighting setup: backlit sun in front of a dark background.

(4) Canon 30D, 24mm f1.4L, ISO 400, f1.8, 1/100 sec.  This is an example of "lifestyle" photography. I asked the little girl to sit on the step and told the older brother to clown around. Lifestyle images like this DO NOT get an order for that big canvas print. However, my family portrait business model is based around selling portrait albums. At least 75% of my portrait clients buy an album. Images like this work great in an album design.

(5) 30D, 24-70mm, ISO 200, f5.0, 1/250 sec. Another lifestyle image. This shot is always a winner. Have the kid play around in the leaves. Easy peasy.

(6) 30D, 17-55mm EFS @50mm, ISO 400, f2.8, 1/500 sec, a touch of Kubota X-process combo to bring out the blues.  What do you do when the child is really shy?  I was playing around with this little cutie pie, saying stuff like "I'm gonna git you!".  She was still a bit apprehensive, but she played along, pretending to hide behind dad's leg. That's when I took the shot. By the way, on the walk back to the parking lot she insisted on holding my hand!  

(7) 5D, 70-200mm @200mm, ISO 200, f4.0, 1/1250 sec. Parents love this pose. I ask the kids to lie down on the grass on their stomachs and rest their chins on their hands. When the parents see this, they go "awwwwww", then reach for their wallets. This was taken about 1pm on a sunny day. Remember to keep the sun to your subjects' backs.

(8) 5D, 70-200mm @ 125mm, ISO 400, f5.0, 1/250 sec, a touch of Kubota X-Process combo. This wall is one of my favorite backdrops for shooting small children. I simply told this little boy to go see what's behind the wall. It looks like the dragon is going after him. He squealed in delight when I showed him the images on the back of my camera. Again, this is a shot that's designed to be part of an album spread, not as a stand alone print.

(9)  5D, 70-200 @200mm, ISO 320, f4.0, 1/400 sec.  Nothing makes parents happier than seeing (1) their kids really happy and (2) their children loving each other.  That's why I always set up a pose like this. This pose always has the potential for that big canvas order. I asked the older girl to hold her little sister in her lap and tickle her. That's it. Pretty complicated, huh? As you can see, they're both delighted, happy, and showing their love for each other. Again, my favorite combo of back lighting against a dark background.

(10)  5D, 70-200 @200mm, ISO 500, f5.6, 1/100 sec.  Always try to get images of the child loving the parents. During the sales presentation, I'll say something like "this is the image you'll want when xxx is a surly teenager and fighting with you." That gets a laugh and a sale. For this shot I had mom sit on a bench. Then I told the boy to stand on the bench, wrap his arms around mom and give her a little love. They're nicely isolated against a clean background which is actually water. The water turned white because it was a cloudy day and I jacked up the exposure compensation to properly light their faces.

(11) 5D, 70-200 @200mm, ISO 500, f5.0, 1/250 sec. Another example of the same pose. Mom is kneeling on the sidewalk. I told the daughter to get behind mom and put her arms around her. One of the great things about shooting at 200mm is that I can stop down to a fairly small aperture like 5.0, get both subjects clearly in focus, yet still have the background nice and blurry.

(12)  5D, 70-200 @ 110mm, ISO 400, f4.0, 1/3200 sec.  From my pre-portrait consultation, I already knew that mom was interested in buying an album. I had this shot in my head because I knew it would make a great double-page spread.  One of my favorite techniques is to shoot upwards with my subjects on a hill. This gives an extremely clean, un-cluttered background.  The kite was really there, not photoshopped. I simply asked these kids to walk up the hill, with the older girl going first with her brother behind. And yes, the shot did end up being used as a double page spread in the final album.

(13) 5D, 35mm f1.4L, ISO 320, f2.0, 1/1600. This shoot took place in a very cluttered back yard. Lots of toys, furniture, etc. In this case, there are only 2 ways to get a clean background. Either get up high and shoot down, using the ground as a backdrop, OR get low and shoot up, using the sky as a backdrop. I chose to stand on a bench and shoot down, because I thought the fall leaves would make a nice backdrop. Since the shot required a wide-angle lens, I used a large aperture to get some nice bokeh on the leaves. As for the pose itself, I just asked the little girl to look up. Just clowning around with her got the smile.

(14)  5D, 70-200 @148mm, ISO 400, f2.8, 1/3200 sec.  I took a little more time with this one because I knew in advance that this would be the image that would get the big sale. Where was this image taken? Right in the middle of Seattle, in a neighborhood park. The back side of this hill has tall weeds, which you know I love to shoot in. I asked the older brother to sit down with his little sister in his lap. Then I told him to wrap his arms around her.  Kids are pretty perceptive. They were aware that I wanted them to be cute. I would say something like "awww" while shooting and they would laugh. Mom bought a very expensive 36" framed print.

(15)  5D, 70-200 @200mm, ISO 250, f4.5, 1/640 sec.  While it's true that parents mostly want images of their kids smiling and cute, it's not always the case.  Try to get a variety of poses, including ones with the child not smiling - more contemplative. This won't work with very small children, but can work with ones ages 5 and up. In this case, I had the child squat down in the grass. I simply told her to look serious, and this is what I got. Oh yes, gotta love that tall grass!

(16)  5D, 70-200 @200mm, ISO 320, f4.0, 1/1000 sec.  I asked the older brother to kneel down and grab his sister. I told the little girl, who was holding a long piece of grass, to tickle her brother with it. Cute, cute cute.  How easy is that?

So that's it. My formula:

• put kids in simple, easy to understand poses
• shoot fast
• clown around with them to get them smiling
• get them to show family love: have kids hug parents and siblings
• when possible, get clean backgrounds
• shoot with the product in mind (albums, large prints, etc.)

(1)  Canon 5D, 70-200mm @105mm, ISO200, f2.8, 1/5000 sec, TRA2 "get faded: summer" @30%.  Jenny is directly facing 3pm sun. I almost never shoot with front light at this time of day, but this was one of those exceptions to the rule.

(2)  5D, 70-200mm @200mm, ISO200, f3.5, 1/1250 sec. The green stuff at the bottom are the leaves of a bush that I'm shooting through. As you can see, mid-afternoon summer sun is quite beautiful when it's back-lighting your subjects.

(3)  5D, 70-200mm @150mm, ISO200, f3.5, 1/2000 sec.  Do you take this shot?  The "traditional" bridal portrait?  If not, you should.  I rarely post this type of traditional shot on my blog and you won't see it on my website, but your clients - or more likely your client's parents - will notice if it's missing. Despite the fact that your clients hired you when they fell in love with your cool and edgy style, I guarantee you that this is the image that will wind up in a frame on the groom's desk at the office.  

(4)  5D, 70-200mm @200mm, ISO200, f4.0, 1/500 sec. This is possibly my favorite light. Back-lit afternoon sun against a dark background. The sun will make a rim light that shows up beautifully against the dark background.

(5)  5D, 70-200mm @ 140mm, ISO200, f4.0, 1/320 sec.  You can't fake images like this. It looks like Jenny and Norbert are having a great time because they ARE having a great time.

(6) Canon 5D, 35mm, ISO1250, f2.2, 1/500 sec.  

(7)  5D, 35mm, ISO320, f4.5, 1/1250 sec. These adorable kids played the music for the processional and recessional.

(8)  30D, 70-200mm @130mm, ISO400, f5.6, 1/1600 sec.

(9)  30D, 70-200mm@200mm, ISO400, f5.6, 1/1250 sec.

(10)  5D, 35mm, ISO640, f9.0, 1/125 sec. What do you do when you have to take a group shot with 40 people? My preference would be to get up high, like on a 2nd story balcony, and shoot down. In this case, it wasn't an option. My only choice was to arrange my subjects vertically. First row kneeling, 2nd row sitting, 3rd row standing, 4th row standing on chairs. It was 95 degrees and everyone was wilting so I had to set this up fast. The high ISO was required because I used f9 to get the required depth of field. Direct on-camera fill flash at -1 FEC.

(11)  Details. Half with my 24mm and half with my 35mm.

(12) 30D, 17-55mm EFS @28mm, ISO1600, f2.8, 1/125 sec.  There are four sources of light here: (1) the blue light is from the room's accent lights (2) overhead incandescent lights (3) on-camera fill flash (4) off camera flash camera left.

(13) 30D, 17-55mm @55mm, ISO1600, f2.8, 1/80 sec. Think about the story you're trying to tell when framing a shot. Here's the best man giving his speech. I could have (and did) take pictures of the best man, or of the bride and groom watching. Why not get the whole story in one image by putting the best man in the foreground with the bride/groom looking on in the background?

(14)  30D, 17-55mm @55mm, ISO1600, f2.8, 1/50 sec. The framed print in the background is from Jenny & Norbert's engagement session. Cake lit with my off-camera flash camera left. (an Alien Bee B800).

(15) 30D, 17-55mm @38mm, ISO1600, f2.8, 1/160 sec. When shooting the first dance, always try to get the guests in the background. The looks on the guests' faces as well as showing them taking pictures of the dancing couple is an important part of the story. You're the cinematographer - help tell the story with your images. Jenny and Norbert are lit with my Alien Bee camera right.

(16)  30D, 17-55mm @17mm, ISO 1600, f2.8, 1/160 sec.

(17) 30D, 17-55mm @17mm, ISO 1600, f2.8, 1/60 sec.

(18)  5D, 24mm, ISO 1600, f2.8, 1/100 sec.  The 24mm is my "dance floor" lens. I get right in the middle of the dance floor with this lens. Getting right in the action with a wide angle gives you a different look than standing back with a longer lens. It adds to the feeling of movement and action.

(19)  5D, 24mm, ISO 1600, f3.5, 1/15 sec.  Don't forget the scene setters and landscapes for that album design!

Only one image in this post (image #1) was brought into photoshop. The other images are straight Lightroom conversions. Less is more.

I've been getting at least one inquiry a week asking if I do workshops, so I might as well get this out in the open. Yes, I do workshops.

I can do one-on-one workshops for either a half day or full day session.  If you can put together a small group I can arrange for a group discount. If you're coming from out of town we can even schedule multi-day sessions.  

All sessions will be completely customized to cover whatever topics interest you.  Here is a list of some possible topics:

• camera settings
• gear
• lighting
  • natural
  • on-camera flash
  • off-camera flash
• posing
• marketing
• how to conduct sales meetings
• pricing
• Lightroom
• wedding workflow
• Photoshop
• printing
• album design
• contracts
• web site critique
• portfolio critique

(1)  5D, 35mm f1.4L, ISO 1000, f1.6, 1/400 sec, TRA2 "luxe" @50%.  I'm just catching Mabel in a quiet moment while outside the room the groom and groomsmen were being subjected to various game-show-like Chinese wedding games by Mabel's friends. Not understanding Cantonese I had no idea what was going on but it was definitely amusing.

(2)  5D, 35mm f1.4L, ISO 1600, f1.6, 1/100 sec, +2 exposure compensation, no actions. After completing the required games, Bruce was finally allowed in.  I like how this image tells a story - Bruce and Mabel hugging, Mabel's tears, the friend taking a photo, and the bridesmaid peeking out from behind the door.

(3)5D, 70-200mm f2.8L IS @80mm, ISO 400, f3.5, 1/500 sec, no actions.

(4) 5D, 70-200 @70mm, ISO 500, f5.0, 1/125 sec, Kubota X-Process Combo @30%.

(5) 5D, 35mm, ISO 400, f4.5, 1/320 sec, no actions. The most important tool in a wedding photographer's kit is not the camera body, lenses, or software - it's the photographer's ability to connect with his subjects.  The best way to get great expressions is simply to make sure your subjects are having a good time. Shoot fast and joke around!

(6) 5DmkII, 24-70mm f2.8L @70mm, ISO 1250, f4.0, 1/640, TR2 Grandma's Tap Shoes @50%. Taken by my fabulous second shooter Jennifer Tai. Direct sun coming through the window but softened with sheer drapes. Looking at Jenn's 5DmkII files was an eye-opener. Very clean and plenty of detail, even using SRAW1.

(7) 5DmkII, 24-70 @70mm, ISO 400, f4.0, 1/125, no actions. I was originally going to post the picture that you see me in the act of shooting, but after I saw Jennifer's image of me taking the photo, I realized that this was the more interesting one. After all, the photo shoot is part of the day, so why not document it?

(8) 5dmkII, 24-70 @70mm, ISO 200, f4.0, 1/80 sec, no actions. Another nice one from Jennifer, who took this from the side as I'm taking the one from head on. Sometimes the side angle is more interesting than the primary shot itself. That's one of the joys of being a 2nd shooter - you get to reach for interesting stuff while the main shooter takes the must-have shots.

(9) 30D, 70-200 @140mm, ISO 1600, f2.8, 1/250 sec, no actions. You MUST meter a shot like this manually, otherwise the blindingly bright light from the open church door will result in massive underexposure.

(10) 30D, 70-200 @135mm, ISO 1600, f2.8, 1/125. Shot through the railing surrounding the altar.

(11) 5D, 24mm, ISO 1600, f2.2, 1/320, no actions.

(12) 5DmkII, 70-200 @200mm, ISO 2500, f4.0, 1/40 sec, b&w conversion in Lightroom. Photo by Jennifer.

(13)  30D, 70-200 @140mm, ISO 1600, f2.8, 1/80 sec, no actions.  This was taken with my 30D.  The 30D has the exact same sensor and processing engine (DIGIC II) as the 20D, which makes its technology a half-decade out of date.  I know I'll probably retire it in the near future, but in the meantime, I sometimes look at the files and realize that they still look fantastic.  It was a lot darker in this church than this image shows, requiring ISO 1600 and f2.8. Does the image look clean? Sharp? Detailed? With acceptable noise? yes.  

(14) Details. Half taken with my 5D/35mm combo and half with Jenn's 5DII/24-70.

Here's the original image. The cropping was a tough call. I actually like having Mabel's face all the way in the upper right corner, giving some sense of space. However, in the end I decided the rest of the image was simply too busy and decided to isolate the emotion.

(16) 5D, 35mm, ISO 320, f6.3, 1/1600 sec, no actions. It looks like I set this up but I promise you I didn't. I was inside when I heard this roar from outside.  I ran out and this was what was happening. I stopped way down to get most of the guys in focus. This is not the sort of image where you would want to isolate any individual with a narrow dof. Processing was a bit of a challenge due to the extreme contrast from the combination of sun and shade. In Lightroom I reduced contrast and pulled down the highlights, then added a fair amount of fill light.  

(17) 5D, 70-200 @153mm, ISO 1600, f3.2, 1/200 sec, b&w conversion in LR. Bruce's face is mostly lit from a spotlight camera left while Mabel's face is lit with my Alien Bee strobe camera right.

(18)  reception collage. All except the lower right image shot with my 35mm.

(19)  5D, 35mm, ISO 400, f8, 1/640 sec. Lightroom only, no actions. The view just after sunset from the back patio of the Shilshole Bay Beach club.

With the exception of images 1, 4 and 6, all of the 32 images in this post are straight Lightroom conversions. No photoshop except for sharpening and I didn't even open them up in PS to do that, just ran sharpening droplets when I exported to jpeg from LR.

When I got my Kubota and TRA / TRA2 actions, I was like a kid in a candy store, running actions on every image. Over time, however, I'm using them less and less, and when I do use them I'm using them at lower opacities than I used to. I'm just tired at looking at tricked-up images, both my own and every other photograper's.  In the end, there's nothing like a crisp image with natural (i.e. real) color. Food for thought.