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Bring Light to Street Photography

Lesson 4 of 9

Releases and Permit Basics

Joe McNally

Bring Light to Street Photography

Joe McNally

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Lesson Info

4. Releases and Permit Basics

Lesson 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.

Class Description

In this exclusive class, join legend Joe McNally, on the streets of New York to see how to bring light to one of the busiest and most dynamic backgrounds. He'll walk through how to prep your gear, scout for locations, direct your models, and incorporate flash to make your subject stand out on the city streets. He'll discuss how to set your exposure and plan your shot to achieve the "bokeh" look of the city glow behind your model. Learn tips for planning your shoot so you're within the city regulations as well as techniques to help work through any troubles you may have while on location. Gain the confidence and know-how to photograph your subjects with flash in what can seem like an impossible environment.

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~~