How to photograph a person in full growth. Master class - How to photograph people in nature. Mornings are wiser than evenings, or when is the best time to take pictures?

I am glad to welcome you, dear reader. In touch with you, Timur Mustaev. As you can see, this blog has already covered many aspects of shooting landscapes, interiors, sports, and more. I did not talk about shooting people, although this is one of the most popular genres of our business.

Sometimes it’s portrait photography that moves people to buy. digital camera, and after that, beginners begin to look at the world in a new way. But we have already talked about the world, so now I will tell you how to photograph people correctly and what you may need for this.

Angle

In general, when photographing people, you need to take into account many aspects: angle, background, lighting, behavior with the model. It is worth starting with the choice of angle. Why? If we have a poor understanding of how a person can look from different angles, then how do we get a beautiful picture with his participation? So, the first thing you need to understand is what kind of photo the person himself wants: full-length, waist-high or just the face, and the poses can be completely different. Based on this, already determine the angle.

In the first case, there is only one unique condition for a successful shot: you need to shoot a person from the level of the model’s chest or belt, if we are talking about a full-length photo. Otherwise, the proportions of the human figure may be distorted by the optics of your camera and the picture will not be as beautiful as we would like.

Shooting, for example, from eye level will be beneficial when working with a bust portrait, and if you shoot from an angle below the waist or above the head, such photographs can be considered caricatured or playful.

Speaking about the look at the model, it is worth mentioning that a portrait strictly “on the forehead” very rarely turns out to be successful. Therefore, the person being photographed should be viewed approximately ¼ of a turn, as this can visually reduce the cheeks and hide asymmetrical facial features.

Also, don't act like photography is work, boring and monotonous. It may be true, but creating such an atmosphere on the set is not worth it. Otherwise, the photographed person may behave stiffly and stiffly, be shy. You need to try to avoid this in order to obtain the highest quality result.

Background

It can be both the most important part of photography and be useless. It all depends on you: if you want - shoot outdoors, lame, a simple white background, indoors - there are no restrictions. However, one should remember a few simple rules so as not to spoil the photo with anything superfluous.

First of all, you should look at lampposts, trees, bushes, diagonals, the horizon - at all the lines of the frame, and make sure that they do not “cut” the person into pieces, do not go out of the head and would not enter it. Try to make the background as adequate as possible.

If you decide to work at home or in the studio - choose the most neutral background. Plaid wallpaper in bright colors is a bad option for a background. It is better to use an absolutely one-color background or discreet shades so that they do not distract attention from the person.

Lighting

It depends on how your model will look in the photo. With this parameter, you can both ruin everything, and save an initially hopeless picture. There are several tips for shooting in different conditions. I propose to consider some of them.

The first tip is to beware of the bright midday sun if you work outside. As paradoxical as it may sound, too bright sun can damage the picture. Why? It will make the model squint, the shadows on the face will be deeper and sharper, and you can also just get overexposed objects. Therefore, many recommend working early in the morning or in the evening, or on a cloudy day.

Second - try to shoot in the shade if the clear sun caught you by surprise. It is better, by the way, to use the shadow of the building so that it is uniform. As you know, the leaves of trees have small gaps between them, through which unwanted light can enter the model.

Third - if you still can't find a suitable shade, avoid shooting against the sun. It is impossible for the model to squint, but I don’t want to get a black silhouette either. Therefore, I recommend to become sideways to the sun's rays: this is how some kind of compromise will be reached.

If you have to shoot against the light, use an external flash in fill light mode. Yes, it is an external flash that should be used in such a situation: the built-in one will definitely not be enough. The same advice will be relevant for shooting at sunset, with the only difference being that our flash will play the role of the main light. Another useful accessory can be or.

Once in the studio, everything becomes a little easier. There are a couple of basic rules here, without which it will be very difficult to get an even, high-quality photo. It is necessary to use lighting devices with the same color temperature, use soft diffused light, and also abandon fluorescent lamps.

Important Notes

Among other things, it is impossible not to say about some details that are knocked out of the description of the choice of angle or background. First of all, this is the processing of the received photo. It is worth remembering that you need to carefully crop it, select the most natural color balance and preserve the natural skin color of the model.

Also, don't cut people's body parts. It doesn't matter if it's the head, legs or arms. An exception can be considered only certain genres of portraiture, such as half-length, chest or knee-length.

When working with a model, you should also remember a few important tips so as not to confuse a person. A photo session in such conditions will be flour for both participants in the process, and the result will be an unpleasant result.

• First tip: don't force your gaze into the frame. This can be done only in very rare exceptions when absolutely necessary.
• The second piece of advice: keeping a model smiling all the time isn't always the best option. Sometimes a pensive, sad, resentful or cunning face can look more beautiful than a smile.

Don't miss this and get a masterpiece shot.

You can also try to photograph the model before the process itself: this will help to get a more natural facial expression, real human emotions, and this is the most important thing in photographing people.

If possible, try to shoot in , which will help you better edit your shot after shooting.

1. (if you have a NIKON) or My first MIRROR(if you have CANON) - It is from this course that I recommend starting to become a photographer. It contains all the basics for a correct understanding of the very essence of photography. Everything is shown on practical examples, which is important!
2. - Here the photo processing itself is already underway. From which side is it better to approach editing, how to do it correctly so that, for example, the skin is not “rubber”, and so on. Lots of practical examples and tips. This video course is designed specifically for photographers!

My first MIRROR— for owners of CANON photographic equipment.

Digital SLR for beginners 2.0- for owners of NIKON photographic equipment.

Photoshop for photographer 3.0. VIP

That's all for today. I told you what it takes to shoot a person in all the scenarios that come to my mind. I hope you enjoyed it and share this article with your friends who own reflex camera. If you have done this, I advise you to subscribe to blog updates. There will only be more such texts in the future. Goodbye!

All the best to you, Timur Mustaev.

Chapter 7 Portrait photography rules

Photographing people. Portrait photography rules

Very often we have to photograph various people, whether they are friends, acquaintances, relatives or complete strangers. Many photographers become professional photographers of people, and what can we say about the role of a good quality photography person in family album… In order to photograph people in the right way, it is necessary to know some rules and tricks of portrait photography, which we will master in this chapter.

As you study this chapter, you will immediately notice a certain similarity with the previous chapter, where we studied . In fact, the previous chapter was kind of basic, preparing for the next step in becoming a professional photograph of people. In addition, in this part, we will mainly touch on portrait photography, and further, in subsequent chapters, we will analyze group photos or weddings.

To get started, you must master both studio and street photography, as both of these types of photography carry their own advantages. Photographing people in a studio requires a little more space than the same studio designed for macro photography of small objects. Tip: The fabric for the background now needs to be chosen much larger in length and width (always choose a piece of fabric a little longer than you planned), also make sure that the chosen fabric is easy to wash, as people will constantly walk on it and thereby soil .

Say good morning to your friend and please her with a beautiful verse. Only the most beautiful love poems.

Camera support.

As for the support of the camera (tripod), then when photographing people it is not so important and can even be harmful. In order to take a good picture of a person or a group of people, it is advisable to walk around, see how the object will look from different angles and at different distances. The exceptions are when you know exactly how to shoot a person (a photo for documents or a photo of several people for a company).

Lighting for portraiture.

When working with portrait photography, do not be lazy to experiment with several light sources. This technique will give you much more room for creativity. Several light sources can also be a combination of a lighting fixture, light from a window and a reflector.

In fact, there are a lot of ways to attractively illuminate a person for portraiture. We'll take a look at a few.

Main light source.

If you are using a single light source for photographing people, then it will be useful for you to know that one light source is most often placed opposite the subject, on the side where the camera is located, slightly above the eye level of the subject. If you place the source behind the person, you will get a silhouette effect that will frame the person. Next, we will analyze the main techniques that are achieved using a single light source:

fill light

Fill lighting is usually in addition to the main light source, such as natural outdoor or indoor lighting. The fill light is set so that it illuminates or removes those shadows that remain from the main one. The intensity of both lighting also determines the contrast with which the portrait will turn out. If both sources are the same power, then the contrast will be weak, but if the fill light is weaker, then the contrast of the object will be quite high. The fill light source is most often placed next to the camera.

Hair lighting.

A special rule in photographing people. Don't forget about hair lighting, as a separate light directed at any angle on the subject's hair can additionally emphasize a person and make the picture more attractive. Such lighting, if you use it, must be carefully controlled so that too much light and attention is not given to the hair, which will detract from the main subject.

Now consider different lighting techniques. There are a lot of them, but we will analyze the main ones that are used very often.

short lighting. It is also called narrow lighting. In this case, the main light source illuminates the face half-turned away from the camera. So it turns out that in the foreground there is a part of the face with a shadow, the other part of the face is illuminated by the source. This method is designed to emphasize the interesting contours of the face. People with large or chubby faces are also photographed in this way to make them narrower.

wide coverage. This coverage is the opposite of the previous one. Here the main light source illuminates the part of the face turned towards the camera. Also unlike the previous lighting method, wide lighting makes narrow faces look wider visually.

Lighting, under an interesting name Butterfly. So, what is this way of lighting. The main light source is placed in front of the subject's face above the level of his eyes. Thus, the light illuminates the face from above and casts shadows downward from everything below the level of the nose. Under such lighting, it is worth mentioning that it is not desirable to photograph people with open ears, as they will be strongly emphasized. Basically, women are filmed in this technique.

Rembrandt lighting. This method, on the contrary, is more suitable for men. The main light source is set high, above the face or head, and illuminates the side of the face that is turned away from the camera. Thus, the part that is turned towards the camera will be partially in the shadow, besides, from the fact that the source is at the top - a shadow will be cast down from the convex sections, a small triangular area will be darkened under the eye, which will give a very interesting effect.

Side lighting. With side lighting, the source illuminates only one side of the face. This method is often used when photographing a portrait in profile, it turns out that the face is outlined with a contour of light, in painting it is called that - contour light. It can also be used when a person is turned to the camera in full face.

Background highlight. In this case, the light is directed not at the person, but at the background behind him. It turns out that it is, as it were, emphasized by the fact that the background behind it is very bright, or not very well lit.

Making your first portrait.

So, let's start the long-awaited portrait shooting. Now we will step by step consider the rules on how to form people's poses and set the lighting correctly. It is assumed that you have already set up the lighting and background and are now ready to shoot the portrait.

Try to relax the person you are filming, it is much easier to work with a relaxed person, almost like with soft plasticine. A lot of people go to shoot with an E Zigarette (cigarette) in their fingers or lips. If you do not shoot him at full height, then you should not force him to stand, it would be better if he sits down on a comfortable stool. Photographers often use stools because they have the ability to keep people from slouching and don't have a back that will fit into the frame.

If you are shooting several people at once, then try to form a dynamic frame. For example, change the line of heads a little, for example, make the central one a little higher than the rest. Here, as they say, a matter of taste and imagination. In any case, people standing in one line, exactly, as if on a ruler, will create an unusually boring portrait photo for you.

Try different camera levels. For example, shoot from waist level, but point the lens at people's faces so they're all looking at you. It is easier to work with one person, since you need to adapt only to his anthropometric structures of the face and body. Mono raise the camera above the level of his eyes, in this case, the nose will lengthen and the chin will decrease, on the contrary, the forehead will appear wider. If you want to do the opposite, then lower the camera below the level of his eyes.

To list all the ways of posing people and arranging lighting fixtures, for portrait or any other shooting, you need a huge bunch of chapters, and even this will not be enough, because people are not soulless objects or static statues, but living people, all different, all special. Your best bet, if you're having trouble posing people, is to study photographs of famous photographers or look through magazines that have a lot of photos of people posing and try to apply that to your subjects.

small but very important tips and rules for portrait photography.

In the case where the hands enter the frame, it is better to photograph the edges of the hands than the palms or backs of the hands. Be very careful about the feet, it would be better if they do not enter the frame at all, as the feet are not quite graceful for a beautiful shot.

If the person you are shooting is bald and not entirely happy about it, raise his head and lower the camera slightly.

If a person has a not very attractive nose, angular or too large - shoot such a person with his face directly directed at the camera.

Prominent ears are best shot in low light so that the ear is in shadow.

Scars, wrinkles, poor complexion can be smoothed out with soft, diffused light or photographing from waist level.

If the subject wears glasses, then make sure that with the light set, the reflection from the lenses of the glasses will be reflected at an angle, and not directly into the camera.

Placement of lighting devices when photographing people.

So, now we organize the lighting. It is worth choosing the lighting that was indicated earlier in this chapter, but do not forget that your luck companion is an experiment. Don't be afraid to experiment. Next, we will briefly analyze the techniques for placing lighting fixtures.

short lighting. With this lighting, the main light source illuminates the side of the face that is turned away from the camera. For example, if the object is looking towards your right shoulder, then the main source is to your right, the fill source is to your left. The fill source should be twice as far away as the main source, thus it will be 4 times less intense, if it is taken into account that both of them are of the same power. See that the shadows on the object are not too dark.

wide coverage. Wide lighting is the opposite of short lighting. The main light source illuminates the side of the face facing the camera. In this case, we arrange the lighting fixtures the other way around than in the previous method.

Butterfly. Everything is easy here. The main light source is placed in the same place as the camera, only rises above eye level to create a shadow under the nose. You should not raise it very high, so that the shadow falls to the very mouth. Fill light can reduce the intensity of shadows.

Rembrandt lighting. In this case, you need to position the lamp, as in short lighting, so that it illuminates the side turned away from the camera, only above eye level. Filling remove or reduce its power.

Side lighting. With such lighting, the lamp is placed so as to illuminate one profile, or one part of the face. You can also set the main light slightly behind the person to soften or minimize the amount of light.

A little tip: When shooting portraits, or a group of people, there is a danger that one of the people will blink and the frame will not turn out. Tell people or the person you are shooting to follow the flash and tell you if it was white or red.

Photographing people is usually not the easiest direction for a beginner photographer. Everyone loves looking at good portrait photos, whether it's family, friends, or just an interesting face. And, as photographers, we have the ability to do very interesting photos, but due to inexperience, we often get angry when our expectations are not met. With that said, here are some technical tips to help you improve the quality of your portrait photography and use the right camera settings to do so. And finally stop being afraid to photograph people.

Focusing

Sony a99, 135mm, f/1.8, 1/250s, ISO 200

We have five (or so) senses, but the one we use the most is our sight. This means that the eyes in the photo must be sharp, no matter how many people there are. Here are some tips to get sharp eyes.

Try to focus on one point. Auto modes don't always hit the target exactly, even if the camera is set to focus on the eyes. Use one point and focus on the nearest eye. Lock focus and recompose the frame a bit if necessary to get the right composition before shooting.

After a few shots, check the sharpness. Be sure to enlarge the photo on the screen to see the eyes in more detail. Shoot again if you are not in focus. If the process still fails to achieve the ideal result, then most likely the matter is in the settings of your camera. Therefore, here are some of these settings that can affect focus misses.

Exposure in portrait photography

Canon 6D, 135mm, f/2.0s, 1/1600s, ISO 50

There are many rules for calculating maximum slow shutter speeds for certain lenses, but they don't always need to be followed, especially if you're photographing a live person who will naturally move.

Using a 50mm lens is not a good reason to use 1/60th of a second. If you are photographing a non-static subject, it is better to choose a shutter speed 1/320 in this case. It will not greatly freeze the movement in the frame and there will be no blurring. Oddly enough, many photographers have noticed that at this shutter speed, the photos are obtained as if with continued movement, more alive. Of course, if there is a small child in the frame, then the shutter speed will be even shorter. After all, children are perpetual motion machines.

Don't rely on specifications cameras such as optical image stabilization. Stabilization can compensate for slight hand shaking, but will not solve the problem of fast movement in the frame. Therefore, let it be turned on, but so that the manufacturers of equipment do not come up with further, the photographer is always in charge of shooting.

Sony a99, 135.0mm, f/1.8, 1/1000s, ISO 200

To shoot a rather interesting outdoor portrait, it is better to open the aperture as wide as possible to get a blurry background. In the studio, the background is mostly uniform for portraits, but on the street, a lot of distracting objects can get into the frame (passers-by, protruding tree branches, etc.). For clarity, be sure to try to shoot a portrait with an open aperture (for example f 1.8) and with closed ( f 5.6), then you will definitely see the difference. A portrait with a blurred background will be more pleasing to the eye and all attention will be focused only on the subject. But even here there may be exceptions, if, for example, the background corresponds to the idea of ​​​​the photo, you can cover the diaphragm a little (for example, to f2.8). It all depends on what you want to say with this photo.

Light is also very important, for example, when shooting in the midday sun, you will most likely get sharp transitions in shadows and highlights, so in this case, I advise you to find a shade or shoot at sunset, when the light is much softer and more pleasant.

Choosing the right focal length

Nikon D7000, 240mm, f/5.3, 1/320s, ISO 400

For large portraits, lenses over 85mm are ideal. A 50mm lens is only suitable on a cropped camera (there it will just show itself as 85mm).

It's all about perspective distortion, and the wider the lens, the more we will notice distortions in the proportions of the face. But there are exceptions of course, there are photographers who are very skillful at shooting large portraits at 50mm, but they understand that this is not suitable for all people.

For starters, it’s still better to take a lens with a distance of 85mm, when shooting with it, we will hardly see any aspect ratio distortion.

Camera settings for group portraits

Canon EOS 6D, 85mm, f/2.2, 1/250s, ISO400

Photographing a group of people is not easy in itself, you need to keep track of everyone, both to get into focus and to look at the camera (if necessary).

Now we are only interested in the technical part, that is, how to shoot a group of people so that they are all in focus.

The easiest thing you can do if the shooting is staged is to put people in a row, at the same distance from you. If the group is large, someone can stand behind someone's back, but at the same time, his face must necessarily be in the same row with others. So that they are all in the same zone of sharpness.

And how large this zone of sharpness will be depends again on focal length lens and distance from you to a group of people.

Next, select the desired aperture, depending on the lens you are shooting with, by the way, 50mm can come in handy here. To do this, focus on the closest person in the group to you, take a picture and see how the rest of the group turned out in sharpness. Aperture here can be from f2.8 before f 5.6. Also, do not forget about ISO, if you close the aperture too much, then most likely the ISO will need to be increased.

And as soon as you select all the necessary camera settings and take a few test shots, you can already start working with people - to amuse them, attract the attention of the smallest, or simply catch the moments of their interaction with each other.

If you have already learned the basics of framing, figured out how your camera works, try to master photography further and try to learn how to make good pictures, with which you can not only decorate, but will not be ashamed to show people. So, what is needed in order to understand how to photograph correctly?

Learn the basics if you haven't already. First of all, this includes a thoughtful reading of the manual for the camera and an understanding of the principles of framing. For starters, of course, you can try to crop on intuition and inspiration, but knowing how to frame a frame correctly is very important.

Be always ready! good frame It's kind of luck to be in the right place at the right time. Carry your camera with you as often as you can. Make sure you use your camera often too. As practice shows, simply carrying a camera with you in most cases does not lead to the expected results.

With experience, the understanding will come that a good and interesting shot can be taken right now, on the spot. And even a few - this is the ability to photograph correctly - not to miss the opportunity and learn to see the frame in everything that surrounds.

Become a catcher! Try to take pictures at different times of the day, go on a photo hunt every day and learn to see different subjects, look at things from a photographic point of view.

Don't wait for the right moment. Look for that moment on your own. Remember - your moment is not on the other side of the globe, but in the same mall where you are right now.

Stop looking for things to photograph and learn to see.

• Pay attention, for example, to . Or vice versa - look for "the complete absence of color" in the color world.

• Look for repetition and rhythm. Or vice versa, something that looks completely isolated from the outside world.

• Watch for light, or lack of it. Photograph shadows, reflections, light coming through something. Or even things that are in complete darkness, but are drawn with only one light outline.

• Watch for emotions, gestures, when you shoot people. Watch them. Catch happiness, mischief or sadness. The person looks thoughtful or annoyed that the camera is pointed at him - these are your shots!

• Pay attention to . Very good in training this skill can help great black and white photography, because the black and white world makes the photographer look at himself with different eyes.

• Play with contrasts. Look for what might stand out from the rest of the shot. Notice: color against the background of grayness, light among the darkness, etc. If you're photographing people, try to find a subject in a context that makes it stand out. Seek photographic happiness in the most unexpected places!

Keep your photos simple. Get rid of unnecessary details in the frame. Remove everything that interferes with perception, which does not create an important context for understanding the photo in its entirety.

Show your work to other photographers. And only the best from your point of view. Not good, not “nothing like that”, but the best, on which you yourself cannot find fault with anything. Even harsh criticism, at times, opens your eyes and gives a new breath to creativity or tells you where to go next. It is worth noting, however, that not all criticism should cause you to have an attack of feeling your own inadequacy.

Look for and read other photographers' critiques. Don't just fall into the "criticize my photos" trap when looking at pictures in terms of pixels. Look for constructive criticism, listen to artists and professionals. If a person has an art education or his works are bought up by connoisseurs, this is a good reason to listen to his opinion.

Figure out what's right in your shots and what you're doing wrong. Artists are able to clearly tell you about such things.

Do not suffer because it seems immodest to you to brag about your achievements. All photographers love to be praised. However, do not be too arrogant and impudent. This will help to get adequate criticism.

Post your photos on photo sites. Everywhere where photographers communicate, there is a fertile environment for the development of the creative potential of beginners. Read photography lessons on Photogor, study criticism, see as many photos of famous and professional photographers, train your photo perception in this way.

Learn the technical details of how to photograph properly.
You will definitely have to learn what shutter speed, aperture, exposure compensation and much more. You can do it yourself, or with the help of all the same photography lessons from professional photographers.

Find your niche. Try all genres of photography! You may find that you easily get along with people and they enjoy posing for you, and you get beautiful portraits, or you may find that the weather does not bother you and you like to shoot landscapes. Or maybe you will enjoy the pleasure you get when shooting a sports event? Don't limit yourself. Search!

Most photographers can be conditionally divided into directors and catchers - directors participate in creating a shot, add details to it, deftly manipulate the mood of the model, organize dozens of people to create one shot.

Catchers have a different policy, their art is to become invisible, to see the natural beauty in real world when their art reaches the heights, they cease to cast a shadow and be reflected in the mirror, and the models themselves undress in their presence, paying attention to them no more than to a piece of furniture.
Think about who you are and what method is closer to you.

Unfortunately, none of the above can turn a bad photo into a good one. There are still a lot of aspects from moral to complex laws of composition construction that can teach you the correct and systematic approach, will develop the necessary skills and give the necessary impetus to move in the right direction and help to learn - how to take the right photo.

Photographing friends and acquaintances is interesting and pleasant, but sooner or later any photographer comes to the conclusion that he wants to shoot not only those he knows, but also random people - on the streets, in cafes, parks, in transport. But people can react to shooting in different ways. How to proceed?

Shoot discreetly

This can be done in several ways.

• Shoot when people have turned away or you are far away. What lens to shoot a portrait in this case? The easiest way is long-focus. There are no problems, you did not interfere with anyone and, remaining unnoticed, received the necessary shots.

• You can also shoot on the street "from the stomach." That is, do not bring the camera to your eyes, do not look into the viewfinder, but approximately aim the lens at the desired object and press the shutter button. This is where a wide-angle lens comes in handy. There is a risk of missing, so it’s better to practice at home in advance to understand at what tilts of the hand what angles your camera covers. It is also important to set the maximum resolution in the camera settings so that, in case you need to crop, there is a margin of quality. It's also best if your camera is not very loud and/or you're shooting where there's some noise so that the shutter click doesn't attract attention.

• The next way is to pretend that you are shooting something else - for example, a building, a flower, a landmark. If you have a friend at your disposal - even better: ask him to stand next to the object you need, and, pretending to be filming a friend, you are filming your “victim”. The main thing, after you have taken a picture, is not to look at the photographed one, but to take a look at the allegedly taken object - as if comparing it with the view that has turned out on the camera screen. This psychological important point usually lulls vigilance - even if at the time of shooting you were suspected.

How to photograph people openly

In this case, it is important to imagine what the reactions to your lens might be, and then act according to the situation:

The person doesn't care. There will be no problems here - just move on.

A person notices a lens aimed at him and slightly tenses up or looks at you inquiringly. It is important here to show that you did not shoot for hidden or shameful purposes - smile broadly, give a thumbs up, say “thank you”. Usually people relax from such behavior and do not show discontent.

If the previous one did not work, then the person may ask why you were filming, and even ask you to show the result. You need to have a ready answer. Sincerely saying: “You looked so good against this background” ... or: “You had such a wonderful expression on your face that I couldn’t help but take it off” - this usually defuses the atmosphere very much.

If you were noticed with the camera before you pressed the shutter, you can ask permission to take a picture (as a rule, this is convenient in cases where it is not the moment or the momentary facial expression that is important, but you need to take a portrait with a look at the camera, a suit, a hairstyle, people in a certain place). It is also advisable to accompany your question with a compliment, a smile that would win over the people being filmed and show the purity of your intentions.

A separate item is the shooting of children. If there are parents nearby, always be sure to ask the latter about this. But I must say that it is much easier to achieve it by saying a few compliments about the charm of their children.