and ask the child, “Can you do this?” but usually you will
get an exaggerated version of the pose. Although diffi-
cult to achieve, this posing point introduces yet another
dynamic line into the composition.
The Eyes.A child’s eyes reflect all of the innocence
and vulnerability that are the essence of childhood. For
this reason, it is imperative that the eyes be a focal point
of any children’s portrait.
The best way to keep the child’s eyes active and alive
is to engage him or her in conversation or a game of some
type. If the child does not look at you when you are talk-
ing, he or she is either uncomfortable or shy. In extreme
cases you should let Mom do all of the enticing. Her
voice is soothing to the child and will elicit a positive
expression.
The direction in which the child is looking is impor-
tant. Start the session by having the child look at you.
Using a cable release with the camera tripod-mounted
forces you to become the host and allows you to physi-
cally hold the child’s gaze. The basic rule of thumb is that
you want the eyes to follow the line of the nose. When
your assistant holds an object for the child to see, have
him or her move it back and forth, so that the eyes fol-
low the object.
The colored part of the eye, the iris, should border the
eyelids. In other words, there should not be a white space
between the top or bottom of the iris and the eyelid. If
there is a space, redirect the child’s gaze.
Pupil size is also important. If working under bright
modeling lights (strobes are recommended over incan-
descent lights because of the heat factor), the pupils will
contract. A way to correct this is to lessen the intensity of
the modeling lights. You can always increase the inten-
sity to check the lighting pattern and quality. Just the op-
posite can happen if you are working in subdued light;
the pupils will appear too large, giving the child a vacant
look.
Expressions.Kids will usually mimic your mood. If
you want a soft, sweet expression, get it by speaking in
soft, quiet tones. If you want a big smile, bring the enthu-
siasm level up a few notches.
Above all, be enthusiastic about taking the portrait.
The more they see how fun and important this is to you,
the more seriously the child will take the challenge. After
a few frames, tell them how great they look and let them
know how things are going. Like all people, children love
to be told they are doing a good job.
Never tell children to smile. Instead, ask them to re-
peat a funny word or ask them their favorite flavor of ice
cream. And don’t be afraid to create a more serious por-
trait—the best expressions aren’t just the big smiles. A
mix of portraits, a few with smiles and some showing the
child’s gentler side, is usually appealing to parents.The Body.
First and foremost, do not photograph a child (or adult)
head-on with their shoulders square to the camera. This
is the mug-shot type of pose and, while it is acceptable in
close-up portraits, it is generally not recommended. The
shoulders should be at an angle to the camera. This is eas-
ily accomplished by arranging any posing stools, chairs, or54 CHILDREN’S PORTRAIT PHOTOGRAPHY HANDBOOK
Tim Kelly believes a fine art portrait transcends time. “It goes far
beyond the utilitarian uses of the subjects, the people portrayed,”
he says. In this wonderful portrait of a young cellist, Kelly reveals
the shy intensity of the girl and a quiet intelligence. “Expressions”
are external indicators of character and Tim is a master at reveal-
ing the personality and essence of his subjects.