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?!