Lessons
Managing Light on The Streets at Night
04:20 2Camera and Lighting Gear on Location
11:42 3Working with Models: Etiquette and Considerations
01:44 4Releases and Permit Basics
02:41 5Pre-Shoot and Scouting
19:45 6Shoot: Male Model with Dusk City Traffic Background
15:16 7Shoot: From One Light to Three Light Setups
24:44 8Capturing Motion with City Lights
06:48Lesson Info
Releases and Permit Basics
for an editorial shoot. The public streets of New York are the public streets of New York. In theory, you can shoot what you want. If someone's walking down the block, I can go click, click, click, and I can put it in the newspaper tomorrow and say, Person walking down Park Avenue. No harm, no foul. Okay, if I want to use that in a commercial vein that that person's wearing Nike sneakers and Nike season and says, I we want to use this, you know? I got to go back and find that person, negotiate commercial rights, pay them a fee. Same thing with the environment. If I'm out here on a commercial adventure, I'm gonna have to get permits. Film permits, if I have, you know, perhaps high price talents. Okay, I'm gonna have to get a motor home. I'll need to get a permit Toe park, that motor home. I'll need to get insurance. If I have somebody kind of, like, sort of notable out on the streets of New York, I'm going to get security. We have a relationship here because we're based around here. We ...
have a relationship of long standing with a security firm that employs off duty New York City police detectives. Plainclothes, badged, armed, two or three of them on the street, sort of insurers that everything stays nice and calm. Also, the beauty and benefit of having those guys. They're really good guys. And, um, if a Beat officer comes along and wants to know what you're doing, they have their relationship with them and they can help you explain what you're doing to the officer on patrol. Anyway. Commercial shooting is a hugely different enterprise. A lot of money goes into commercial shooting. You can spend literally thousands and thousands and thousands of dollars an hour out here on the streets of New York to do a full blown commercial shoot did one just last week. Budget was very high. Permits were very dense. Multiple permits had to be had because there's overlapping jurisdictions tonight. We're not going to observe any of that. It's running gun, editorial style shooting. I don't have to worry so much about, uh, the implications of my background. I can move and shoot if someone comes along and says you really shouldn't be shooting here. I'm not gonna pick that fight. You have to choose your battles. So I'm not gonna get into a standoff with somebody over a picture that I can make an equivalent sort of picture down the block. So sometimes, you know, just a mild manner and a happy approach. The things is the best ticket you can use out on the streets of New York. Be a Buble. Be congenial. Be forgiving the elastic. Okay? Can't shoot here. Okay, well, how about here? Rock and roll with it.
Ratings and Reviews
Sevana
It's reeeeeally a fabulous course to lead me through the entire photo shooting process, getting to know how a professional team operate and especially how the photographer prepare for and sort of work like a director to make things done. Great course! I'd love to share it with my friends~~
Student Work
Related Classes
Lighting