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In the studio, backdrop options included a pasture at sunset, a wildflower field on a sunny afternoon, a living room with a fireplace, and three plain panels in black, blue, and multi-blend. Props were set specific: hay bale, cowboy hat, and saddle for the pasture scene, for instance. The white bench was the only versatile piece, used for the wildflower scene and the fabric panels. The poses, a set of ten, were also scene specific. They required rigorous effort from the young photographer and the mother.
They tended to be uncomfortable and occasionally tear-inducing for all parties. Some young photographers lacked multi-tasking proficiency. They struggled to hold their cameras and swivel baby bodies into correct positions. Instead they wondered about the sanitization of the props. How many children had put the saddle horn in their mouths? One by one they took their children, still in formal wear, out for ice cream and then to a park.
Sitting, waiting, pacifying infants a Cheerio at a time, they felt the burden of brushed hair, wide smiles, wrinkle-free outfits, shiny shoes, and cry-free eyes. They started to skip months in the studios. They shrugged when new coupons arrived in the mail and deposited the glossy cardstock directly in the recyclable bin. When portrait studios became less popular, the young studio photographers were moved from their slow studios to the store proper. At first they continued to dress all in black until a manager told them they needed to look more cheerful. Driving to and from the mall, these displaced photographers dreamed up ways to get back to work with a camera.
All those families not coming into the studio for their Christmas card picture and framed triptychs to give to grandparents still needed Christmas card pictures and framed triptychs for grandparents. Amateur family photography began with simple blogs and advertising on Facebook and Craigslist, over email to previous babysitting employers, and through fliers affixed to walls in church fellowship halls.
After the Participation Trophy Era, this is precisely what mothers wanted. No session fees, no printed images. Instead, for a set amount, mothers would receive a collection of digital images to select from and print as they pleased. Even early in their careers, amateur photographers regularly booked at least one session a weekend.
Demand was high. As long as there was sun, they arranged to meet mothers and their children at local outdoor spaces.
The standard trunk of an amateur photographer carried an assortment of props to the location e. They often arrived early, with charged DSLR cameras and extra memory cards, to evaluate the light and background textures. Shoots lasted whole mornings or whole afternoons, but breaks were allowed and stain-free snacks encouraged. Mothers and photographers and babies formed a single collaborative unit seeking the most authentic, personal representation of a specific childhood moment awash in the splendor of the day, the season.
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To this end, they experimented. They played. They frolicked. Babies crawled through beds of cotton-ball snow during a pre-winter session. Toddlers marched with their butterfly nets across real dandelion fields in a spring shoot. Mothers and young photographers expressed exceedingly high levels of contentment over the success of these affairs.
They were on to something. Hugs were routinely exchanged. Mothers often returned to their cars with tears in their eyes while babies gummed handfuls of grass they had smuggled from the fields. Initially, props met two criteria: they had to photograph well and appropriately signal childhood. Mothers then began to make requests, claiming they had seen too many pictures of baby girls draped with pearls. They demanded flair.
They insisted upon the special they had been promised. For instance, mothers who adopted pets scheduled shoots featuring menageries of stuffed animals.
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For mothers committed to sustainability, photographers constructed sets from cardboard and cork. For very literal mothers, photographers framed sleeping babies with actual oversized frames positioned on the ground. In photographs, the prop is elevated to set piece. Babies are seen clutching heirloom spoons or else TV remote controllers. Young children ogle lollipops as big as their faces or else tangle themselves in strings of lit Christmas lights. In a popular diptych, a sleeping two-month-old in only a striped cape grips the handle of a samurai sword while a seated seven-month-old with a paisley-print bandana wrapped around her smooth head chews the steel handcuffs hanging from her chubby wrists.
Eventually, objects inundated the frame. The lens as levee failed to control the surging item levels, the rampant proliferation of stuff that saturated the shots. Images called to mind church yard sales, attics, consignment stores, everything lost to Hurricane Katrina. Newborns were tucked into open violin cases and propped against rusty push-mowers. Babies peeked out of stockpots and golf bags.
They held up fistfuls of dollar bills and waded through penny-filled troughs. Then they toppled cereal boxes. They tore apart piece puzzles and baskets of freshly folded laundry. They leveled block towers and shredded construction paper packs. With 90, square miles of America ravaged by water, destruction in photos seemed so fitting, and babies happily participated.
Eventually props dominated the shots. Photographers snapped dozens of pictures while children slept in their carseats off to the side. As a direct response to the Cluttered Picture, photographers cut everything out. Everything except the baby. The Great Prop Recession of Now they concentrated the lens on bright, upturned faces and started snapping sun-lit strands of hair.
They cried over the inches of baby skin they saw, the surface unkissable, glossy, preserved. Close-ups were replaced by Closer-ups: single feature shots.
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Photographers trained cameras on feet, knees, noses, shoulders, and hands. They dismantled babies frame by frame and then gave the pieces back to mothers who studied the remarkable detail.
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Her third toe is the longest of the bunch! Upon hearing such exclamations, photographers wondered if mothers looked at their children at all except in photographs.
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Then came the Even Closer-ups: eyelashes, a dimple, a mole, nostril shadows. Again, mothers and photographers lost babies in the pictures.