Field Work
As you all know already, there is a world of difference between working in the studio and working in the field! The first problem is almost invariably that you have left something behind. The more often you work in the field the less this happens, but I still almost always don’t have some item that I want. One of the ways to alleviate this problem is to take careful note of what you use in the studio and make a checklist. It also helps if you know what sort of pictures you plan to make in your outing. You can set up a bag for outside work with places provided for the various items you need. You can glance at the bag contents and see what’s missing. Grouping items together by use is also helpful.
Then, even if you have the items you need, there are all the other problems with field work. Wind is a very frequent complication, and you can only do so much to deal with it. There are times when you have to start looking for something else to shoot. If the flowers are moving too much, maybe it’s time to look for promising bugs or interesting rocks or maybe go somewhere where the wind is less. Often there are areas where the wind is less of a problem; maybe in the shelter of a wall or in the middle of some natural windbreaks like shrubs or bushes.
Backgrounds are often too busy or too brightly lighted for the best results. Depending on where you are (your own yard, a botanic garden, a national park…) you may be able to do a little bit of “gardening,” and rearrange items that aren’t helping you. In some places, of course, you cannot do that, but you may be able to change your angle of view slightly and avoid a problem area. Sometimes the problem is that there is a very bright spot in the background, which you may be able to shade with something, like your body. Be creative and innovative and you can often cope with such difficulties.
Another frequent difficulty is positioning yourself where you and your equipment need to be. The best location for your tripod may be in the water, or on the edge of a cliff, or too near the road. There’s not much you can do about these things in general, but your kit can include a choice of lenses, one of which may get you into a better location. What I call my “long-distance macro” lens (300 mm with extension tubes) may get you into a much easier location. Your perspective will be different, but that may be a good thing.
Finally, there is often the need for additional equipment, such as plamps, mcclamps, flowerpods, stiff wires to bolster flower stems, wire ties to temporarily stop flower movement, reflectors and diffusers, etc. The list is long and you’ll have your own list soon enough if you work in the field for very long.
Then, even if you have the items you need, there are all the other problems with field work. Wind is a very frequent complication, and you can only do so much to deal with it. There are times when you have to start looking for something else to shoot. If the flowers are moving too much, maybe it’s time to look for promising bugs or interesting rocks or maybe go somewhere where the wind is less. Often there are areas where the wind is less of a problem; maybe in the shelter of a wall or in the middle of some natural windbreaks like shrubs or bushes.
Backgrounds are often too busy or too brightly lighted for the best results. Depending on where you are (your own yard, a botanic garden, a national park…) you may be able to do a little bit of “gardening,” and rearrange items that aren’t helping you. In some places, of course, you cannot do that, but you may be able to change your angle of view slightly and avoid a problem area. Sometimes the problem is that there is a very bright spot in the background, which you may be able to shade with something, like your body. Be creative and innovative and you can often cope with such difficulties.
Another frequent difficulty is positioning yourself where you and your equipment need to be. The best location for your tripod may be in the water, or on the edge of a cliff, or too near the road. There’s not much you can do about these things in general, but your kit can include a choice of lenses, one of which may get you into a better location. What I call my “long-distance macro” lens (300 mm with extension tubes) may get you into a much easier location. Your perspective will be different, but that may be a good thing.
Finally, there is often the need for additional equipment, such as plamps, mcclamps, flowerpods, stiff wires to bolster flower stems, wire ties to temporarily stop flower movement, reflectors and diffusers, etc. The list is long and you’ll have your own list soon enough if you work in the field for very long.