Join Chris Orwig for an in-depth discussion in this video Scouting a strange location, part of Narrative Portraiture: On Location in New York City.
This is a chapter where we get to put into practice the things that…we've discussed and learned.…This is a chapter where the rubber meets the road, where you get to put the…pedal to the metal, where you really get to go for it. Because here in this…chapter, I am going to share with you a few assignments that will require that…you pull out your camera, that you get out into the world and that you create…and capture photographs.…So here is your first assignment.…What I want you to do is to scout a location but to do so in a strange way. Let me explain.…
Find a location that's close to your home or your work or whatever it is, and…find a location that has a lot of people in it and then go there with your…camera, scout it out.…Now, typically when we are scouting, we're paying attention to light, to…backgrounds, to what's happening, but this time I want you to go a step further.…I want you to photograph strangers in that context.…Let me explain how this works for me.…So say with the Jerry Mason shoot on the Brooklyn Bridge,…
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