Location Shooting Guidelines
So Jared, we do have a little bit of time here-
We can dive deeper into some of the things that came up here. I know some people were asking some questions about location shooting guidelines- Like for instance, we're up here on the roof-
You know, we're trying to replicate, you did your shoot here. Were there any sort of guidelines that you were thinking when you first came up here? Anything when you kinda scouted the area? Anything that changed your work flow based on the location that we're at right now?
Well work flow, not necessarily. Because obviously we're constrained by whether we have Wi-Fi here and all that kinda stuff. So we're actually using the Wi-Fi here at Creative Live and that's what's actually sending my images up to the cloud and then they're going down to the computer right now as we speak. So that's all happening. But constraints of the location itself- I'm always checking where the sun is. So I have an application on my phone and it's called Su...
n Seeker. So Sun Seeker is amazing. With Sun Seeker I can go to any location and I can say, "Show me where the sun is going to be." And so I'm- Here I'll give ya- So you can see the sun is right up, there it is! (people laughing) Alright, so it tells me where the sun is now, but it also tells me where the sun will be later. But I'm looking at it on the phone, so I'm seeing a visual of where the rooftops are and I can see where the suns gonna arch across the rooftops. So in our situation we just have this roof. It's not like I can scout out another location and so we're just on this roof. And in that case, I came up here to a location that I had to shoot at and there's a lot of times that you have to shoot at a location, right? Like if the wedding was here at Creative Live, then you have to shoot here, right? So at this point, I know the weddings going to be here, and we're going to do portraits at 9 o'clock on the roof in the morning. So the suns gonna right there, looking horrible. And that's why I'd put her over here on the stool and I'd just put a scrim. And that scrim blocked off the sun. It still gives me that kind of direction of the sun, so I get that feeling of sun coming through the hair, but it minimizes it. And then I just relight. And what I did is relight it from the same place where the sun would be. So you'll notice that my beauty dish was off to her left, or off to the left, because the sun is off to the left. And so the general direction of light was all coming from that direction anyway. So what I did is I got rid of that harsh, ugly light, and then I relight with a soft beauty dish, so that I had pretty light instead of ugly, harsh light. So anytime I come into a situation on location, first thing I do is choose a location that's correct for where I want to shoot and when I want to shoot. 'Cause I would've preferred to shoot in a situation where I was facing away from the sun, she was facing away from the sun. And then I can put her in her own shade and then I can light her with full sun in her hair and stuff like that. That's what I'd choose to do. But our situation is longways this way, north and south, instead of east and west, so it makes that more difficult. So, choose your location. If you can't choose your location and you can't choose your direction, then I just block the sun and then relight. So that I have control over it, but I'm gonna always maintain that. I always follow the sun. Whatever the sun is doing, I'm going to do the same thing. But I just may have to block the sun and redo it.