simply means that you are shooting a picture that illustrates, or tells a story, sometimes within the confines of a layout supplied by the client, but if you're lucky you may get an open brief, and it's left up to you to interpret the theme of the story and in this example your shooting at a Photo Location.
THESE TYPE OF PICTURES, can relate to photography in advertising, or simply to provide a visual picture for a magazine story for example. So, what's so different to what we have discussed so far. Well, we are not just shooting a head shot, say for beauty cosmetics or an album cover, and you may not be shooting fashion, (where make up, hair, and clothes, have to be perfect). And you are not working in the controlled conditions of a studio.
TAKE THIS EXAMPLE of a photo location shoot, you may be composing a picture for an Ad or a story, where you have to use several models, perhaps a young family with children, or where you'll be using two or more models for a story line at a chosen photo location.
THEREFORE, you have to think in terms of making a composition of your image, taking into consideration, size and shape of the picture, and the requirements of the client. This is the point, where you almost forget about what we previously discussed in the studio, because your main objective, is to find the RIGHT LOCATION, and to shoot a carefully composed picture, that doesn’t look as though it's been carefully composed. (If you get what I mean), it has to look natural. I know that's a contradiction, but as soon as you understand that comment fully, you are on the road to success.
I WOULD SUGGEST, that you search your locations first, building up a mental image of suitable backgrounds, if necessary take along a camera and record these locations. After a while, as you become more experienced, you will be able to recall these different locations from memory and as you receive further assignments, you will be able to set up at a previously used or viewed location that you think might fit the clients brief. This is the key to success with location editorial photography. The same applies to a Fashion location shoot, where a pretty or interesting background is required. Make sure you have a location in mind, it can be expensive dragging your models around while you hunt for one. In other words, when you visit your location beforehand, even consider the camera positions, so when you arrive with your models and client, you go straight to your chosen spot. You can then cover different camera positions and angles as the shoot progresses.
LET'S TALK, about the prevailing light conditions for a Photo Location. First of all, in the "great outdoors" and depending where you are located, the thing to remember is that the weather can be, very unpredictable. Keep this in mind and have standing by, hot coffee on a cold day, ice cold water on a hot one.
IF YOU SHOOT IN THE SUNLIGHT, it might be better to consider shooting early in the morning at your photo location, or later in the evening, when the sun is low in the sky and giving a warm light. Try to avoid shooting in direct sunlight, when the sun is over your shoulder and avoid, like the 'plague', shooting around midday in harsh sunlight. I use to shoot fashion assignments on location in Europe, typically Spain and we were always out on location early in the morning, often set-up and ready to shoot when most people had just got out of bed, but we would be finished well before midday and head off back to the hotel for lunch, recuperation and preparation for the next days shoot.
FILL-IN FLASH and REFLECTORS: When I was an assistant at the tender age of 18 years, we always carried a reflector on a photo location. It was constructed from a white canvas, about 6'x 6'feet, fixed between two broom poles, so it could be rolled up when not in use. You will find that to day there are more portable reflectors to be had and easier to carry.
TO DAY, with help of modern technology and the use of the latest 35mm. S.L.R. and digital cameras, fitted with a dedicated flash, life for the location photographer has become easier.
OR HAS IT ? There are two things you have to consider here, first it's essential to use a reflector or fill-in flash and secondly, if you opt for a fill-in flash, the results can sometimes disappoint, introducing unwanted shadows.
WHERE FILL-IN FLASH WORKS WELL, is in shooting one or two models in a fashion set up photo location, providing the background is not too near. But with reflectors, you can see the effect it creates as you shoot, of course if you are using a reflector, you will need an assistant to help you.
IT WOULD BE A SOUND IDEA, to run some test shots with fill-in flash and reflectors, using a stand-in model to develop your technique, especially if you are going to get a run of photo location work.
IF YOUR USING fill-in flash, it's better to reduce the output of the flash, so all you are getting is a pleasant 'catch light' in the eye's and the flash is not overpowering the photo location natural daylight.
HERE ARE A FEW TIPS TO GUIDE YOU WITH OUTDOOR FILL-IN FLASH: Let's say, your daylight meter reading is 125th. Sec' at f.8, and you set the flash output to f.8., (this is known as a ratio of 1 to 1), therefore, the flash would slightly overpower the model in the foreground, and the background would appear a little darker than normal.
HOWEVER, if you set the flash output to f.5.6, in the same daylight meter reading conditions as above, (this would be a ratio of 1 to 2), which reduces the output of the flash, giving a more normal balance of light. This is the most used setting for outdoor fill-in flash.
BUT AGAIN, if you set the flash output to f.4, (a ratio of 1 to 4), the results can also be very pleasing, giving a pleasant 'catch light' in the eyes, and the flash becomes less obvious.
IF YOU’RE, shooting at your photo location against the sun, you could opt for a fill-in flash ratio of 1 to 4 or even a ratio of 1 to 2, especially if you are in open spaces, on a beach for example. But in most situations on a beach, there is so much reflected light from the sand, sea and sky, however, it's still best to work with a fill-in ratio of 1 to 2, except in close up shots, where the use of fill in flash should be reduced to a ratio of 1 to 4, giving a pleasant 'catch light' to the eye's giving the picture a 'sparkle'. It's not so easy to use a reflector on a beach, but you know we use to one all the time. In town, you might find a reflector the best option, as you can see how the light looks as you shoot. Sometimes a combination of reflector and fill flash can also be effective, try to practice this when the opportunity presents itself.
SO, let's review what we have read in the last paragraphs when shooting at your photo location.
1. SEARCH and RECORD YOUR LOCATIONS. It might be worth remembering at this point, that any given background can look different by shooting at a wider aperture, thus throwing the background out of focus. This effect can also be achieved by switching from a 35mm. camera to a medium format camera, where the depth of field is less. Some years ago, the smallest cameras in use for editorial work would be medium format cameras, size 6x6cm., and often I would shoot my location work on a 5x4 inch 'View' camera and sometimes a 10x8 inch 'View' camera.
2. RUN TEST SHOTS, using Fill-In Flash or Reflectors.
3. PRACTICE, the Fill-In Flash ratios of, 1 to 1 / 1 to 2/ 1 to 4, by again running more test shots.
FOOT NOTE: It's worth making a note that you shouldn't use Fill-In Flash outside on location at a greater distance than about two meters 'flash to subject' distance, unless you are using a more powerful flash pack, the equivalent to a studio flash unit. This concludes our tips and advice on shooting editorial or fashion photography at your photo location.
NOW GO PRACTICE WHAT YOU HAVE JUST LEARNT.
Roger Lewis © '2003 - 2006' www.PhotoRog.com
