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Handling gear on location

From: Narrative Portraiture: On Location in New York City

Video: Handling gear on location

After you've scouted a location and started to think about what type of images you want to create, one of the next questions to consider is how you're going to handle your gear. Now I have a good friend with me to help out and a lot of times what I'll do is with a friend or assistant, that person will hand me a camera or I'll just carry one camera, my gear maybe close by. I can run over and get it. At here on the Brooklyn Bridge I knew that that wasn't going to be an option. I had to have my friend stationed near the gear bags so it he can watch all those, because it was an incredibly public place. There were so many noises and people and so much happening.

Handling gear on location

After you've scouted a location and started to think about what type of images you want to create, one of the next questions to consider is how you're going to handle your gear. Now I have a good friend with me to help out and a lot of times what I'll do is with a friend or assistant, that person will hand me a camera or I'll just carry one camera, my gear maybe close by. I can run over and get it. At here on the Brooklyn Bridge I knew that that wasn't going to be an option. I had to have my friend stationed near the gear bags so it he can watch all those, because it was an incredibly public place. There were so many noises and people and so much happening.

I needed to have my cameras on me or right at my feet. I need to become kind of a human coat hanger and I wanted to do that so that I could walk, so that I could move, and so that I could create different kind of images. And something else it's important in regards to your gear is to keep in mind that your gear isn't sacred. It's not overly special. Someone what can happen is you can work with someone, you can swing out a big camera say like this one, and they'll say wow, that must be expensive. It can almost create a sense of fear of the camera. I always like to try to minimize that and so in almost every shoot what I'll say is "Oh yeah, it is a neat camera. Here will you hang onto it for a second? I need to go grab something." And just give them a chance to hold the camera. I say look through the lens, see what I'm seeing here.

And by doing that you can create connection. You can change a perspective. So it's not just me photographing the subject. Rather it's us collaborating together to try to create interesting images.

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Narrative Portraiture: On Location in New York City

26 video lessons · 9681 viewers

Chris Orwig
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