Join Chris Orwig for an in-depth discussion in this video Assignment: Working with a prop and shooting with film , part of Narrative Portraiture: On Location in New York City.
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All right, are you ready for your final assignment in this installment?…Here it goes.…At first this assignment will sound simple, easy to accomplish, but wait…till you've heard the entirety of it before you decide if this one is going…to be easy or difficult.…All right, well, for starters, I want you to create a story-filled portrait of…some person and then I want you to include a prop in the frame.…In other words, let's say you know someone who is a birdwatcher. Rather then…just photographing them in the field, photograph that person in the field with binoculars.…
Now whenever you introduce a prop into the picture, it's difficult to pull off…that photograph so that it doesn't turn out cliche or trite.…We've all seen the photograph. The surfer with the surfboard, the basketball…player with the basketball. Been there, done that. We've seen those photographs.…Somehow use that prop to tell more of the story, not less, but somehow more to draw people in.…Now how you do that is completely up to you. I'm not going to give you any…
In this installment of the series, Chris shows how to incorporate aspects of a location, such as architecture, natural light, and even passersby, to create authentic, story-filled portraits.
The course begins with a photo shoot on the Brooklyn Bridge. Chris emphasizes the importance of directing and collaborating with a subject and of being responsive to changing lighting and location conditions. After the shoot, Chris discusses the preparation that goes into on-location shoots, from choosing camera gear to storyboarding. Next, he reviews the images from the shoot and mentions the post-processing techniques that he employed to make them more effective. The course also includes several assignments aimed at reinforcing the concepts Chris describes.
The course concludes with an on-location family portrait shoot and a look at the special considerations that go into group shots.
- Engaging the subject
- Scouting a location
- Handling gear on location
- Taking advantage of natural light
- Planning and storyboarding before a shoot
- Working with props and groups