Jess McGlothlin Media Blog

source Photo assistant Jenny Madsen enjoying a rare moment of down time in the Lamar Valley, Yellowstone.

https://alldayelectrician.com/mrd6fp5l23 Photography, simply by nature, is a bit odd. We—photographers—are tasked with capturing a slice of a scene—or an entire scene—and condensing it down into something to share. Often the story is told in bits and pieces, a portrait here, a scenic there, a couple of action shots thrown in. The goal is to share a https://www.mreavoice.org/t8sj0na feeling, a moment, much more so than simply a person or a place. It’s a hell of a job.

https://guelph-real-estate.ca/91amywd2v Model Phoebe Bean caffeining up in between shots.

Online Tramadol Store But it also presents a bit of a conundrum… commercial photography, especially. We can edit from behind the lens, capturing this and not that, one thing while leaving another off to the side and out of the frame. On commercial shoots, like this one a few weeks ago for Orvis, there’s a shot list—images the client wants for advertising purposes—that we’re tasked with capturing. The light is crummy? Too bad; create your own light. (And we did a lot of that on this shoot.) You’re tired and have slept a total of ten hours in the past four days? Suck it up, buttercup. There’s a job to do.

https://www.mbtn.net/?p=aam9235 Coming back from a commercial shoot, I typically do a quick top edit, comparing and organizing against the shot list so it’s easy for the client to page through. During that process I set aside the few images I tend to take for myself and the photo team on the shoot. We’re often out working long hours, in weird places, in unsavory conditions. Ingredients for funny things to happen, and it’s always worth capturing those “outtakes” to share later on.

https://purestpotential.com/nkg3rpvx4l The back-of-Land-Cruiser photo desk. On the road somewhere between the Madison and the Gallatin Rivers, Montana.

source site And often the best shots are those when we’re blurry-eyed, highly-caffeinated, and sprinting between locations. In Belize this fall, some of my favorite shots were taken when I was “kidnapped” (their words, not mine) by local fishing guides and fixers to go to a beachside bar during a supply run to town. On this most recent trip, it was laughing as we slammed various forms of caffeine throughout Yellowstone National Park, photo assistant Jenny climbing onto a boulder and moving into a beautiful yoga pose, and models Jackie and Phoebe suddenly taking off, bounding down a brushy slope and holding their arms up in a scene somewhat reminiscent of the opening of  http://www.mscnantes.org/2kxt9paby The Sound of Music. It was Hax the dog trotting cheerily into camp toting a dead vole. Or me setting up a makeshift image upload/review station in the backseat of Rudy, the old land Cruiser who served as our adventure companion and transportation on the shoot. Jumping between locations I could compare images to the shot list and make sure we had what we needed… not ideal, but it got the job done. I’ve had far worse workspaces.

https://www.yolascafe.com/x8tnn7t Things just tend to happen. And it’s awesome.

https://penielenv.com/7ogwba5b3m And ironically, it’s the images of those random moments that tend to get clients really excited.

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