Join Chris Orwig for an in-depth discussion in this video Storyboarding the shoot, part of Narrative Portraiture: On Location in New York City.
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Chris Orwig: One of things that I'd like to do after I've scouted a location…is while that location is still fresh in my mind is to begin to think of images…that I want to create. Because a lot of times when you're shooting, what you're…doing is your processing a ton.…And I always want to go in to shoot with some ideas, something that I want…to try to accomplish.…Now of course, you have to react to what's happening, but it's helpful to have…some behind the scenes thoughts.…So what I do is after I've scout a location I pull out my journal or a sketchpad…and I sketch out some ideas.…So last night what I did was I sketched out these different ideas.…
One was I wanted to create an image, which I'm kind of calling walking the line,…kind of balancing on that center line.…Really taking advantage of this linear aspect of the bridge and all those lines…and the shapes and the forms that, that creates.…Another one was perhaps a vertical shot where the shoulder, he is leaning on shoulder.…So it's not so straight up and down, but there is some kind of lean or different…
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