Location scouting

This is so important. It's a must-do before a shoot for which there either can't be or won't be a redo. It's absolutely essential for a commercial shoot. And photographers, if you don't do it before a wedding, well, bride and groom beware.

Scouting isn't just about finding spots. It's also about becoming familiar with locations so you'll know how to work best in them. It's about gaining awareness of potential problems and probable strengths with the location so you can use the information to your advantage.

My attitude has always been that if someone isn't doing the scouting for you, and if you're at all concerned with getting it right the first time - and why wouldn't you be, for the client's sake - you'd better go scout whenever possible. I think a lot of my photographer colleagues share this sentiment.

So here are my eight tips on scouting.

1. Always, always, always think about lighting! This is always at the forefront of my mind - especially now, because many agree that the light is unique in France! "The sunlight is somehow different on the Cote d'Azur." No matter where you are, look for good lighting. Find ways to get or make good lighting. Observe it so you know what you'll be working with when it's not ideal but you simply must use this one particular spot. This is easily the most important consideration. It makes all the difference in the world.

Scouting a location with light in mind

Depending on the event, you'll either have a scheduled time that you have to shoot, or you'll have flexibility in scheduling that you can adjust to your liking. There are upsides and downsides to both: Shooting already set for a specific time? That's good, because you should only need to make one trip to each spot to see what you'll be working with in terms of light. That's also bad, because if the lighting isn't ideal at that particular time of day, you have no choice but to run with it. Flexible with the time of the shoot instead? Well, everyone agrees that more options and more flexibility are good. But it can make things more difficult and more time consuming, because maybe you're like me and want to come back again at a different time to see how the quality of light changes. Sometimes the difference is incredible.

Things to think about with lighting - Season: Wintertime light is different than summertime light. It matters if you're indoors or out. Weather: overcast, sunny, etc.? How is this going to change things if it's not the same on the day of the shoot? What's your backup plan at this location? Shadows: Where are they? How will their movements affect your image? Do you have any shadows to work within at all? Are you equipped to deal with full sun?

2. Take into account the limits of your familiarity with a certain spot. What if you've got a shooting situation that's totally different than what you're used to in that location? You'd better scout it. For example, I once had a client with a winter wedding in a church in Iowa. I'd been to this church many times as a kid and knew it pretty well. But I'd always been to this church in the morning, never in the the late afternoon, and never in the late afternoon in the winter, when it's darker earlier. Even though I felt like I knew this church, I wanted to make sure I got a feel for how the lighting was going to work at that time of day, at that time of year.

Not a gawker in sight

3. Consider the time of day/year in terms of people. Is this location one that's prone to getting busy, or having people wander into your background, or having a handful of folks standing around watching you work? Can you deal with this? Better question yet, can your subjects? I know some people I've photographed are uncomfortable with bystanders standing around looking at them - and I understand it completely. If this is the case, you'd better know that about your client/subject, and you should find a location that's more secluded.

4. Bring all the equipment that you might need while you're scouting. You don't have to have it on you all the time, but it should be accessible if necessary. Leave it in the car or have someone else carry it. And if possible, have a test subject.

5. Take test shots. Test out different angles. Move reflectors and light packs around. Play with your settings now, so you don't have to on the day of the shoot. Do it all, with or without a subject, so you can move through the real thing more efficiently. If you think you can't remember something, write/type it down.

What to expect lighting-wise in a bamboo forest? Only one way to find out...

6. Explore. You have your list of spots you know about. Great, but... unless they're your own property, it's possibly boring. If you know these spots, how many other photographers know them and use them? Think you can find something else that's amazing that no one else knows about or uses? I do it all the time, and I think you can too. Go looking for them. I guess in France I have the added benefit of already wanting to go everywhere and see everything, so this is something I really look forward to - it's all part of the fun. Sometimes you find great spots in the unlikeliest of places. 

Scout a tapestry shop? Yes! And it ended up being a great location.

 

7. Do it the right way. With this adventurous spirit, keep in mind the legal and ethical side of things (you knew I was going to say that). Don't trespass. If you really want to see what's on private property, whether it's land or a business, ask permission. Plenty of people are more than willing to let you use it - especially if you offer to compensate them, or sometimes it's as basic as offering to send them a photo of the result. And this should go without saying, but be respectful - don't litter, don't destroy anything, don't move something around, like furniture, and not put it back.

8. If all else fails, don't forget you (probably) have a cell phone camera. Not everything about a photographer's work is planned in advance. Come to think of it, some of the best fruits of photography aren't planned at all. Scouting can sometimes be included in this. Of course it's impossible to lug your DSLR around on your person all the time. It doesn't mean you have to pass up an idea. If you see something, take a cell phone picture of it so you won't forget, and so you can come back later. I've been an accidental scout many times. The result has always been worthwhile.

Where else will you find furniture like this for a shoot?!

Quoi de neuf tout le monde?

That title is meant to be a hint! It's been quiet - because there have been some big changes! Three things to update you all on:

ONE. Time for photography. Most people know that I'm now an attorney, and undoubtedly, the practice of law has meant that photography has taken a backseat to my "real job." I love lawyering. The work is intellectually stimulating and a true challenge. You take in new information, everyday, for the rest of your life. For me, it serves a greater purpose in that you're actually helping people who need it, and whose lives might change thanks to your knowledge and advocacy, and doing something that not just anyone can do. You're taking on someone else's problems as your own, and every once in awhile, these are matters of life or death. Heavy? You bet. Some days, it's unreal. But oh so worth it.

I adore photography as well, but for very different reasons. It's a way to set your creative spirit apart from everyone else's without using words. You can make something that's completely unique and different - something that has never been done before, visually - if you're fortunate enough to have these types of concepts materialize in your mind in the first place. And you can let another person see themselves through your eyes - my interpretation of who they are and their personality.

As you can see, I still selectively take on new projects, but only when I can give my all. And the reason is easily understood if you ask any honest photographer. They'll tell you, making quality images takes time - you typically can't turn out a quality finished product in less than a week's time - unless you hire help, but that kind of defeats the purpose of someone coming to you specifically for the work, doesn't it? And if the project calls for something special, you need time to conjure up the details of the theme, and maybe even time for a test shoot. You have to hit the nail on the head unless you want to risk your work looking as though it's been poorly planned, or worse - just like everyone else's. Quality before quantity is the rule of professionalism, and it goes without saying that my clients tend to emphatically agree.

TWO.

Aspirations. Taking equipment to extremes can be fun - and a bit scary. I do 95% of my shooting with either my 5DMKII or my 7D, and sometimes I have both of them on, one around my neck, one over my shoulder. So, ideas have been kicked around for an underwater shoot. If it's a go, that's great, but which one do I take underwater? And which waterproof housing is wisest (read: safest!)? Secondly, I've been thinking about their oft-neglected video capabilities and want to try them out more thoroughly. 7D shoots 24p natively but no matter what, 5DMKII still has a much better picture. It's going to be an interesting experiment when I finally get around to it.

THREE.

Brave new world. Starting in May, I'll be in France! Je suis au-delà excité et je ne peux pas attendre de rencontrer tant de nouvelles personnes!

Robin & Steve

Robin and her husband Steve came to the Arizona studio to get some unique maternity portraits - Robin is 36 weeks along and expecting a baby boy! She really does have a glow about her and it shines through in the images. I think the pictures also capture the excitement and tenderness that come with expecting a little one and a growing family - it really was a neat moment to behold being behind the camera.

Melissa's Family

Busy, busy, busy! Since I landed in the west (in Phoenix at the moment), I've been getting caught up on everything and wanting to update, but then I also want to process, and all this in between shoots! But the wait is over - it's update time.

While I was back in Iowa, the weather was the definition of perfect - imagine 70 degrees in early November, and if you grew up in the midwest, you know you really can't ask for much better than that. Presently I'm a bit spoiled by both the weather of the Valley of the Sun and the Bay Area, but I doubly appreciate it when it's nice back home at this time of year and dread the possibility of bitter cold, which can be standard at times.

So, much to my surprise, the weather was absolutely amazing for Melissa's outdoor family portrait session in Muscatine, Iowa - a mid-sized city by Iowa standards, bursting with history, right along the Mississippi River (check out the Wiki more info and pretty pics of the sights around town). We shot at an old, character-rich building and it was the perfect location. As a bonus, no one had to bundle up, and you can't tell the season just by looking at the images. They were so much fun to work with - plus, her boys were great in front of the camera and enjoyed playing around, so we got some very cute shots!








_____________________________________

What else is going on? The fan page has almost doubled in size since I last commented on it here about a month ago - we're now approaching 600 fans. Thanks for your continued support. And I did update KarlyKoren.com with some new images about a week ago - so enjoy! I've got some unique shoots coming up as well - keep checking in here, or subscribe to stay in the loop. Finally, just a heads up: it looks like I'll be in San Fran in less than a month and then it's off to Iowa again :)