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Strategies for Shooting in Difficult Situations

Lesson 17 of 18

Shooting in Parking Lot Scenario

Susan Stripling

Strategies for Shooting in Difficult Situations

Susan Stripling

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Lesson Info

17. Shooting in Parking Lot Scenario

Lesson Info

Shooting in Parking Lot Scenario

Soon I promise you a parking lot is that parking lot enough for you so I'm shooting a wedding neither of those in my car so you don't have to google the license plate I'm shooting a wedding and I am in red hook brooklyn I'm at liberty warehouse on dh for those of you who are from brooklyn or new york don't listen to this just stop listening and go watch somebody else I don't want to give you my parking want secrets but I had been shooting the bride and groom and we were kind of going back in and I maybe had ten more minutes with them and I was like I'll just find another lighting scenario let me see if I can see something cool and I'm in the parking lot right still in the parking lot and I start seeing this she's the light kind of dabbling around on the ground and it's kind of balancing off of this building and I'm like you know what the light is like really nice here I bet I could get some really kind of sick linds flair here and I could make some interesting they could make something...

cool so I asked my bridegroom who were like super awesome and completely trusted me if you tell him to stop in the middle of the parking lot they need to kind of trust you. So the important things to note here are these buildings over here this space right here of nothingness and then this and all of these trees over here because it looks like that this is the space in between the buildings these air the trees that is this down here and there's like a kind of a shrub back over here the bride and groom were standing about right there and it looks like that catch a little lens flare choose the right settings it doesn't matter where you are you take your exposure compensation take it from one point three take it down a full stop and you're perfectly exposed image becomes a silhouette when they're still against that white background so there's two completely different pictures to be made here wanna little one exposed for the faces and one exposed for more of a silhouette then you shift your angle of view instead of having them against the white background you put them against those buildings in the background still in exposure come plus three camera meter doing it's it's good work for you but now the light is starting to stand off a little bit more around them because I've juxtaposed them against something unless you think that it only looks good because it's in black and white color go vertical drop down bring that shrubbery in let it be part of the image crop differently bring in the trees on lee go to their heads bang, bang, bang bang bang! Easy peasy! Right parking lot that's not an after image by the way can we just take a moment and just like that I mean that's kind of what this whole thing sums up to may write because so many people do complain so much justifiably I think about their situation parking lot see things and they don't see a way out of it you don't see what you're seeing because you walk through a parking lot you're like parking lot and when I walked through a parking lot I'm like light light on the ground it makes me a bad conversationalist in real life because I'll just be walking along and I'm like no I'm sorry just looking at the light are like on a wedding day I'll be walking through the parking lot talking with the bride and groom and then I'm just like trucking along and then I'm just like stopping I'm looking at something and we were literally in the middle of a conversation it was because I got sidetracked and that's how I found this but continuing to go through this one parking lot was not enough so he'd been right here right like right over in this light I saw this this kind of wall of shrubbery and walked a little further back that's that same wall of shrubbery I brought the bride and groom out I put them against the wall of shrubbery the lightest still coming from the same angle because I'm still in basically the same spot I knocked off a couple of different pictures I allowed in some of sort of the urban elements of my surroundings. Settings should not be too much of a mystery to you by now. And then I zoomed in closer. That could be washington square park. That could be central park. That could be a parking lot in red hook, brooklyn. You just never know. And to finish this one out, they started walking back towards the building, and I saw this staircase up there, and the sun by now was going in and coming out and going in and coming out. This is what it was gone, but he kept coming back and lighting up this building like that. Right composition you don't know where you are this could be anywhere this building could be two storeys tall it could be twenty stories tall and she was just awesome that bride's a cop you do not wanna mess with her she's amazing she's like the delicate ist little cop that could just break you in half she's great exposure compensation minus one for accurate exposure on her face and is it the parking lot is not enough but that it is horrible this is galanis in brooklyn it smells like a canal it's disgusting but it has two of my favorite wedding venues five oh one union and the green building and they're wonderful but I had to take the bride and groom outside and had like five minutes and it's literally it's saturday night in brooklyn there's people everywhere there's people walking around there's like a street festival going on everything is under construction I mean we've got construction signs you've got a green wall we've got a brick wall we have scaffolding we've got a car and we've got a great photo location because we had good light find the light first find your background next if you have a light and you have a background and you work your settings correctly that's that green wall right there that's that other wall why am I not seeing all of the junk on the ground? Because I crouched down and shot up into it instead of shooting straight into it, a couple of other quick ones. This is my single favorite location in all of new york to photograph. It is the high line. Most people are up here photographing into those windows. I like to come down here because I have a stark black background and light that comes in from one side only that looks like that. So if you see where everybody else is going to photograph, take a look around, and maybe you'll find something that is a little bit better, or a little bit different than everybody else. Not a lot of new yorkers have pictures from the high line that looked like this. And, yes, I have highline pictures where you can see the beautiful highline and all of the scenery and everything. This is just a wonderful little addition that maybe other photographers wouldn't have seen.

Class Description

Wedding photographers can’t wait for perfect conditions before they work – when the clock is ticking and people are waiting you have to shoot, even in less-than-ideal locations.

In Strategies for Shooting in Difficult Situations, Susan Stripling will show you how to troubleshoot common calamities like; a wedding party getting ready in a room with no light or family portraits slated to be shot in a terrible location. You’ll see how Susan has handled difficult shoots and crazy lighting challenges and get insights and inspiration for overcoming your own difficult situations.  


user 1c7bd6

Wow! Fabulous course! Ditto with the above reviews! Thank you, Susan, for giving us such helpful information for shooting weddings in such challenging situations. You have such a brilliant and quick mind for making the magic happen! The camera settings by each photograph was so very helpful. Since I didn't write anything down I shall be in search of your books. Susan's class is a must for anyone considering a career in Wedding Photography. Thank you Suan and Creative Live!

Kat Penniman

As the description says: MAKE SOMETHING OUT OF NOTHING! Spot on! Thank you Susan for sharing what you know and helping me become a more creative photographer despite less-than-perfect scenarios. As photographers, oftentimes, we find ourselves placed in a position where we are expected to create beautiful photos in the midst of difficult situations like low light scenes or crappy background. Her explanations are very clear and she definitely knows her craft. She cares about her clients and she's determined to give them great pictures despite what's thrown at her. If you are a strobist or use flash in most of your work, this course is not for you. But if you a natural light photographer and sometimes struggles to take photos indoor where light source is very challenging, take this course! You won't regret it!

Jessica Lindsay-Sonkin

Susan is amazing. This class is a pile of case studies, with behind the scenes and camera settings, to help you find the light. There are parts that can be repetitive, but that is because Susan is passionate about helping photographers memorize this message and put it into practice. A worthwhile watch!