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When you photograph kids and families, "you're recording a piece of history," says renowned photographer Douglas Kirkland in Douglas Kirkland on Photography: Photographing Kids and Families. In this course, Douglas discusses the art of photographing kids ranging from toddlers to preteens, both alone and together with parents and siblings. As he photographs close friends and family members, Douglas discusses the use of ambient light as well as LED fill light, and demonstrates shooting techniques in both informal and studio settings.
(music playing) I grew up in a small town in Canada, only seven thousand people. The first picture I ever took was taken with a box camera, a Brownie box camera, and I remember pushing it into my chest, ten years of age at the time, and pushing that device down, and it went "clunk." I got the buzz right then, and it's never stopped since. Now Speed Graphic was the camera of the time, and if you had this in your hand, as a young man, I have to tell you, you really felt you were hot.
Turn this way, that way. I mean that was a charge like nothing else. I got a call from Look magazine, and I was basically hired to shoot fashion, and I was the new generation. I was in my mid-twenties. The year was 1960. And then my boss in New York called me and he said, "We'd like you to go Las Vegas with our movie editor because Elizabeth Taylor, who hasn't been photographed or had a story done on her for about two or three years now, has said she will give us an interview." I sat quietly in the back of the room as the journalist interviewed her, and I went up to her at the end and I took her hand and I said, "Elizabeth, I am new with this magazine," looking straight here straight in the eye, just like I am you, "could you imagine what it would mean to me if you would give me an opportunity to photograph you?" I was holding her hand still. Pause.
She probably thought she was never going to be released, and then she said, "Okay, come tomorrow night at 8:30." To make a long story short, I did, and I got pictures that ended up really starting my career of photographing celebrities. I had the cover of Look magazine, my first cover, and from then it was like an explosion of possibilities. This camera is the one that I actually used to photograph Marilyn Monroe, this very camera, this 500C.
We went to visit her in her Hollywood home. It was this camera, myself, Marilyn, a wonderful photo session that went on for about three or four hours. I feel a great attachment to this. I have been very careful to hold on to my images. Ever since then, I was always able to keep my pictures, so that's why I have all these books, fifteen in all at the moment, I believe. I am best known for my work around entertainment, and these are work from the movies.
They are different times, different places. I have worked on one hundred and sixty films in all, by our last count. For me, one of the most significant and important areas of working with people is to know your subject, feel sympathetic toward them. You have to feel that I care about you, and I do. Boy do I ever! Because I know that what you have in you is going to make a great image, and honestly, you can have any lens in the world or any type of camera, but if you don't have a subject who's connecting with you, your chances are substantially reduced of getting a good image.
I learned from a lot of different sources and resources, certainly, and photography in the early days and later on with computers. I asked a lot of people a lot of questions, and I had a lot of wonderful people help me. And frankly, years ago, somebody gave me a lesson that I've really held on to, and I feel this way very strongly: do the same for somebody else. When you receive something good, just pass it along, and I hope that you get out of this something special, and I am trying to pass it along to you. I care about it.
I hope you do. (music playing)
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