Join Chris Orwig for an in-depth discussion in this video Sketching and shooting, part of Narrative Portraiture: On Location in New York City.
All right, are you ready for your second assignment? Here it goes.…There are couple of different elements for this assignment.…The first one is that I want you to pick a busy location to photograph someone…that you admire, that you respect, that you like.…It could be a brother, a co-worker, a colleague, a mentor. Pick someone…that fascinates you.…Why a busy location?…I want you to photograph them in a busy location because that is really difficult.…Now it is easy to photograph someone in a park with no one around, with nice…light and beautiful trees or flowers. That's simple.…
But if you want to really learn, you have to get beyond simple, you have to get…to the complex, and how in a complex situation do you create simple photographs.…Now if you can do that you can really create something quite special.…So again, it's a busy location and you are going to photograph someone…you admire or respect.…How then do I want you to approach the shoot?…Before you do the shoot, I want you to pre-visualize it and I want you to do so…
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