Chapter Five

Childhood

Maile Wilson

 

“Childhood is measured out by sounds and smells and sight, before the dark hour of reason grows.”—John Betjeman

During my photography career, I’ve spent a great deal of time taking pictures of children and their families. So when I was asked to contribute to this chapter, I thought it would be a relatively simple task. However, when I started going through my archives to compile images, I realized with a pang, how little time I’d spent photographing my own children. Initially I tried to justify it, as if it were somehow expected. After all, the cobbler’s children aren’t supposed to have shoes, right? But I knew there was a deeper reason as to why I hadn’t been aiming the lens at my own life. Simply put, I was afraid that I wasn’t enough.

It was the pile of laundry in the background, the dishes in the sink, you name it. It was ultimately my own feeling of inadequacy that made me cringe when I saw evidence of imperfection. And why would I want to document that? Even on special occasions, it was only out of obligation that I’d grab my camera. Feeling even more like everything should be a certain way, I was paralyzed and uninterested. We can’t be creative when we’re burdened with such precise expectations. So I’d put my camera down again and tell myself that next time I’d work harder. Next time it would be better. Next time it would be perfect. But next time is a slippery slope that can easily turn into never. Years pass by without permission. And one day it’s possible to find that the occasions we were counting on flew away unnoticed and without being treasured.

Coincidentally, I came to this realization around the same time that one year was ending and a new year was about to begin. As was my ritual, along with all the new resolutions, dreams, and goals, came the regular purging of old images. Most of them were shots of clients from the previous year needing to be cleaned out, and little hesitation was required before deleting. But then I came to a hidden file with the unassuming label “outtakes.” Not remembering what I’d included in it, I opened it to find snapshots of my own children, taken in the first six months of the previous year. This folder was where I’d stored all the images that weren’t “good enough” to blog, or print, or to keep out on display. They were out of focus and overexposed. They were pictures of my messy house, children in pajamas at three in the afternoon, with unbrushed hair. They were the not-perfect pictures of my not-perfect life. And they grabbed me in a way that none of the others ever could have. The last thing I cared about noticing was an ƒ-stop. All I could see was the subtle way my son knitted his eyebrows together when he was doing his homework. Or the way my little girl’s belly bounced out happily underneath her too-small T-shirt. This was my everyday life. These were the “un-retouched” moments that I wanted to remember most. I’d been living my life as if it were a photographic session in need of editing. As a result, the flawed, unedited, most real moments were being discarded. But these ordinary messes were as much a part of me as the edited versions.

This was my realization as a mother that there is simply no time for next time. Our children grow and change at warp speed. They move from the cradle to kindergarten in seconds. While there are birthdays, holidays, and special occasions, most of life happens messily in between the milestones. And we can’t forget to celebrate it.

Introduction

We all remember a time when going to a professional photographer meant begging children to properly fold their hands on a faux table that was covered in faux fur, in front of a faux paper backdrop. Maybe it was a mural of evergreens, or a field of unicorns. Regardless, the objective was to sit still and say “cheese.” Thankfully, children’s portraiture has greatly evolved since the “Days of Faux.”

This is what I find thrilling. When you meet a child in his or her own world, sticks transform into rocket ships, leaves turn into sailboats, and the journey of their imagination turns into an adventure of discovery for you too.

When you capture portraits of children you have the honor and privilege to enter a whole new world: theirs. Let the children be your guide. Follow their lead. Listen, watch, explore with them. As you follow their cues, you’ll be better able to capture picture after picture of not only your young subjects, but of a world full of magic and wonder, and your images will tell the story of childhood.

Natural Beauty

When a child is in a place where they feel “at home” you’ll be able to capture their true personalities. There’s comfort and joy found in images where a child is obviously in his or her element, totally happy and unconditionally loved.

Shutter Sisters’ Blog, by Irene

“Shoot what you know” is what they say. And I know these two. Yet it wasn’t until recently that I realized that my sons, now almost eight, have been a constant source of inspiration whether I was holding a pen or a camera. And though I am now able to create a routine that revolves a little more around my work rather than school schedules, and I no longer feel the compulsive urge to squeeze and kiss their cheeks all the time, documenting my children’s daily life is still one of my greatest joys.

It’s little surprise then that some of my favorite photographers are also parents who photograph their kids. A lot. There’s just something heartbreakingly beautiful and touching when we are faced with such innocence, curiosity, and unrestrained joy of life.

Approach

There is nothing more important than authenticity when capturing images of children. Let them reveal themselves to you as you hold your camera at the ready.

Interesting portraiture stems from connection, so it’s important to consider your approach. This is especially true with children. Like adults, kids can be hesitant or shy when introduced to new people and situations. It can be even more intimidating when that new person is also aiming a large piece of metal equipment in your face. The camera can actually end up acting as a barrier. So whether I’m photographing my own children or the children of a client, I try to forget that I’m a “photographer.” Instead, I’m just Mom, a friend, or a playmate.

Superhero

Children are naturally playful, so it’s easy to get a great photograph when you make it about having fun. You just have to be ready to capture the moment.

Glamour Girls

Did you know that dinosaurs and fairies live inside my camera lens? If you look really close and stay completely still, sometimes they’ll peek out and say hello. In this image, the girls were looking for dancing princesses. For slightly older children, you can make a slightly more technical version of this “story” by saying that there’s a crocodile hiding inside your lens. If they look closely they’ll be able to see him “blinking” as the shutter clicks together.

Shoot It!

Tell your subjects about the magic that lives within your lens and watch them gather around, squeezing themselves into your frame. Be sure to shoot the whole process of discovery; it usually doesn’t last long so shoot quickly.

Aspiring Photographer

When photographing newborns, it’s easy to become focused on the baby. But it’s nice to include older brothers or sisters—this way they feel important and included. While you’re shooting the newborn, have siblings draw a picture for “their” new baby, or help to give them a bath, or play peek-a-boo. In this case, I handed the older sister my little point and shoot, and asked her if she’d like to take photographs of her baby brother too.

See It!

A picture in a picture is an intriguing concept. Maile is sure to include the small fingers of this baby’s big sister on the camera to make this shot endearing to both the viewer and the mother of these children.

Perspective

Seek inspiration from the source and imagine what the world might look like through the eyes of your young subject. You’re bound to discover new perspectives.

Whether it’s an airplane flying overhead, or a ladybug on a window-sill, children are always paying attention, receptive to a world where ordinary moments are waiting to be filled with wonder. They notice the little things that we as adults have grown accustomed to tuning out. So spending time with them is in itself the gift of a fresh perspective.

When I’m feeling uninspired or stumped for a new idea, I find that it’s often beneficial to simply move around. Sometimes a subject can become dramatically more interesting just by shifting yourself over a few feet. Allow yourself to think in three dimensions. Beyond left and right, there is also up and down.

When you ask someone if you can take their photograph, you are in essence also asking them to be vulnerable with you. Bridging this connection with children is easy because they haven’t learned how to be self-conscious or guarded yet. With adults it can be more of a challenge, understandably. When someone invites you into their private spaces to record their most cherished connections, there must be a certain level of mutual trust. As the photographer, you can establish these connections by being willing to be vulnerable yourself. In this case, I was slightly uncomfortable about climbing, barefooted, onto their bed. I couldn’t help but feel foolish as I wobbled above them with my camera. But it was also the only way to capture everyone from this angle; a reminder that sometimes gaining the right perspective requires taking a risk.

Little Dreamer

To take this photograph, I had to lie down in the grass. By getting down as low as the little girl was, I was able to capture not just the image of her lying in the grass, but the feeling of it. She has the faintest sweet smile that I might have missed if I’d been further away or standing up.

Shoot It!

The object in a shot like this is to really experience life like the child you are capturing in your image. Get down in the grass, or on the sand or even the living-room floor and shoot while you revel in the playfulness of a child.

The Intimacy of Family

An unexpected perspective brings interest to this unique portrait. Including specific clues to the context—the family bonding with baby at home—illustrates intimacy and a tenderness that tugs on the heartstrings.

On Top of the World, by Andrea

This image demonstrates the idea of perspective—when you place someone or something in the foreground, you create the illusion that they are larger than the background. So there is a literal “largeness” about this pregnant woman’s belly that every expectant mom can relate to. But what makes this photograph even more powerful is that there is also a figurative “largeness” communicated. The fact that her belly is contrasted with the open expanse of the city creates a sense that she is “on top of the world.”

Little Picasso

I took this image by holding the camera right over my subject’s head, without even looking through the viewfinder.

Composition

Children might not be as easy to plan around as other subjects so compositional choices might have to come on a whim, but keep in mind that there are infinite ways to tell a story.

Zooming in and getting down to the level of your small subjects is an effective way to get good portraits of children. But what about when you’re looking to compose a shot with a little more interest? There are a number of different ways to express childhood through simple compositional techniques.

As you aim to tell the story of your young subjects, consider all the elements that can help you illustrate what you want to convey. Color, texture, location, and gesture are among those things that can be considered as you artfully arrange your images.

A Little Perspective

Far from the ordinary baby portrait, this shot is a demonstration in opposites. And also of unexpected cropping: a more common way to compose this image would be to abide by the rule of thirds and position the baby in the left or right side of this image. There are many instances where off-centering a subject makes for a stronger presentation. However, this is an example of how rules can sometimes be broken to communicate a different feeling. Because the baby is almost uneasily centered, it creates a certain tension within the image that draws you in towards the baby, and makes her appear even more vulnerable and small.

 

Windswept, by Tracey

There is no such thing as an unusable background. Regardless of location, you are always under the sky. This captivating image translates this idea perfectly. The low perspective of her lens creates a lovely composition that includes trees and the sky behind the subject, her daughter. These elements, coupled with the beauty of her daughter’s hair being swept up by the wind, give the viewer a sense of childlike wonder. We are drawn into a world where magic feels unquestioned and where life is a grand adventure to be explored.

 

Invincible, by Irene

Photography, just like any other art form, allows you to pick and choose the pieces you want to assemble to create something cohesive. You can do this by simply focusing on something that impresses or moves you. In this image the top half of both boys’ faces has been cropped out, leaving nothing but the iconic superhero T-shirts as the main focus. Although their faces aren’t shown in their entirety, the visible hand of one boy on the other’s shoulder communicates a very strong bond between them. This is a perfect example of how emotion can be conveyed in other ways besides facial expression.

Lighting

Seeking out a warm glow via any number of lighting conditions will enable you to illuminate the magic of childhood from any number of angles.

In the same way that we’re not always aware of our breathing patterns or our hearts beating, we’re often unaware of how our photographs are utterly dependent on light. When we become conscious of light, we begin to notice the subtle ways that it shifts and moves. The harsh noonday sun can depict a field of grass as yellow, while the same field appears green on a diffused, cloudy morning. Being conscious of these changes is what allows us to learn how light works and how we in turn can work with it under any circumstance.

Wishful Thinking, by Stephanie

In this image, the little girl is holding a handful of dandelions, which stands out brightly against the generally darker background tones. This contrast makes the dandelions the focal point. But this wouldn’t have been as evident if it weren’t for the way they are lit by the sun behind them. Backlighting is a very powerful way to highlight anything, especially if what you’re highlighting already has a translucent quality. In this case, the illuminated dandelions feel enchanted. Not just for the way they’re glowing, but for what they represent. For me, it feels like she’s holding a magical handful of wishes.

 

Mermaid Sisters

All moms know how it feels when the house gets too quiet. When the constant pitter-patter of little feet and activity turn into a silence that is often questionable. It’s the silence that means forks are being jammed into light sockets or that cookies are being stolen. In this case, the house had melted into that suspicious state of calm so I was pleasantly surprised to find two mermaid sisters. They’d been lounging in the bath long enough to melt an entire bar of soap. As the muted light bounced through the window into the reflective water, it grazed across the texture of their little wrinkled toes to tell the story of their adventures.

Set It!

ISO: 400

Exposure: 1/60 sec

aperture: 2.8

Focal Length: 17mm

Flash Used: No

Baby Love

Soft light is ideal for shooting portraits of babies. The light here is baby soft and yet strong enough to accentuate the textured lines on the chair, enhancing the graphic element that leads your eye right to the round, adorable subject.

Details

The story of childhood is found in the details. Whether they are specific to the child or universal symbols of youth, every little thing proves important.

Often times photographing children is simply about waiting—waiting for them to laugh or jump, or tell a story about their favorite toy—waiting for magic to happen spontaneously. Other times, it’s about letting the story be told by focusing simply on details. It could be tiny newborn toes or the tousled wet hair of a little girl on the beach. By zooming in on these elements, you leave space open for viewers to make their own connections about what was going on before or after the image was taken.

Over the years there have been many ways that people have defined what makes a photograph “work” or “not work.” The definition is subjective based on the opinions and the aesthetic of each individual viewer. I define interesting photographs simply as those that make me stop for a second look—either because of one element that reaches out to grab my attention, or because of something more subtle in the photograph that ignites a more nebulous, but equally powerful feeling. Whatever it is, it’s an element that makes you curious enough to look for something deeper in the story of that image.

Loved

The lipstick kiss here was obviously prompted for the photograph, but it’s a perfect example of how details can not only make an image more interesting, but also symbolize other things and tell a sweeter story.

 

Cool Blue, by Tracey

In this photograph it is the detail of the little girl’s hands that draws me in. Beyond the blue drink and dirty hands, it’s the remnant of her one finger nail with the chipped polish that makes the whole photograph. It goes to show that stories can be interpreted in the smallest of details.

Rainbow's End, by Sarah

We all exist in a world full of props. With kids, the options are endless. Including “props” when photographing children can instantly evoke a sense of playfulness; think an oversized lollipop, a teddy bear or a soccer ball. Here we don’t see the faces of the children playing. Instead we see tube socks paired with ruby slippers, rolled-up blue jeans, and chalk-lined rainbows decorating the sidewalk. These props work collectively to give the viewer a sense of afternoon playtime among little friends, also stirring a sense of nostalgia.

See It!

Sarah’s placement of the elements in this image is both deliberate and spot on. The arrangement of all the rich texture and playful color around the frame leaves enough negative space in the lower left-hand corner for our eye to rest, only to be swept back up into the action.

Shoot It!

Stand above your subjects and shoot down. You’ll get a bird’s-eye view of the enchantment of childhood. Don’t leave out the little details that speak of childhood!

Processing

Whether it's accentuating your small subjects with a punch of color, soft-muted tones or distilling it all down with black and white, processing can be your greatest tool.

Ten years ago it was hard to imagine a world where a photograph created with film would make a person feel nostalgic, as if it were made using some kind of relic from the past. But technology continues to become better and more affordable, making the learning curve come more easily. And because information is so readily accessible, an increasing number of people are now able to capture moments in a way that was never possible before. I don’t think there’s a more profound demonstration of this than the way moms have begun to document the lives of their ever-changing children. In this sense, the gift of technology has been a gift of increased memory.

 

Warm Tones, by Jen

There are photographs that are obviously in color. And there are others that are clearly defined as black and white. But as another metaphor for life in photography, there is also a huge range of what lies in between the obvious. This image is one of those examples. It’s not quite black and white, nor is it vibrant with color. Instead, it exists within its own spectrum of cinnamons and sepia. There is just enough color to add a sense of depth, yet it’s not overwhelming enough to take away from the beautiful texture that a black-and-white image offers naturally.

Shoot It!

The next time you’re desaturating a color image into black and white, see what happens when you stop somewhere in the middle.

Sweet Dreams

Converting a photograph from color into black and white reduces the image in the sense that it then becomes a series of just highlight and shadow. What might have been primarily seen as a tree or a door transforms in black and white into a pattern of leaves, or beautiful wood grain. In this case, I wanted the finished image to be less about a sleeping baby and more about the softness of his skin, and the folds that create soft lines that form his little features.

Shoot It!

The next time you shoot photographs of a child, deliberately shoot black-and-white images. Look for light, shape, and texture and see if this approach changes the way you look at your subjects and how it affects your images in the end.

Sandy Reflections, by Irene

When we think of processing, we naturally think of Photoshop or other photo-editing software that allows you to make changes to your image after the fact. But processing also encompasses the tools you use while creating your images. In this case, I think it’s the Polaroid itself that creates the mood of the image. Polaroid pictures inherently communicate a feeling of nostalgia because of their popularity in the 1970s. The feet of this little boy could be yours or your son’s, which makes it a classic representation of childhood, rather than any specific child or timeline.