Shooting away from your own space adds logistics to an already busy day. This timeline walks through what to handle two weeks out, one week out, the day before, on shoot day and that evening.
This guide is general information for creators and businesses in the U.S., not legal advice. Copyright, licensing and drone rules depend on the facts and change over time; check the Copyright Office, the FAA or a lawyer for your situation.
Quick notes
- Scout the location in person or on a map two weeks out, and check whether the city, park or property owner requires a permit.
- Since January 4, 2025, the EXPLORE Act treats commercial and noncommercial filming the same on national park lands.
- On federal park lands, groups of eight or fewer generally do not need a permit if their activity causes no harm or disruption.
- Build a shot list a week out and schedule the shoot around the sun rather than against it.
- Back up your files the same evening, and only format your cards after those copies are verified.
A location shoot has more moving parts than a session in your own space, and most of the problems happen when those parts are left to the last minute. Permits take time to process, the sun moves whether you are ready or not, and a dead battery far from home can end a shoot early. This timeline breaks the work into six stages so nothing gets forgotten.
Two Weeks Out: Scout the Location in Person or on a Map
Start by getting to know the place. If it is close enough, visit at the same time of day you plan to shoot. Walk the area, take reference photos with your phone and note what is around it: which way the building or open space faces, where the sun rises and sets relative to your subject, where cars park, and whether there is shade at the hours you care about. If you cannot visit in person, a map app with satellite view gets you surprisingly far. Look at shadows in the satellite image to judge how buildings and trees will block light, and use street view to check sightlines and crowds.
For indoor locations, ask about power. Find out where the outlets are, whether they are on separate circuits, and whether anything is likely to trip a breaker when you plug in lights. If your lighting plan leans on cheap modifiers, our guide to bouncing light with reflectors you already own covers options that travel well.
Check Whether You Need a Photography Permit
This is the step people skip, and it is the one that can shut a shoot down. Without a required permit, your session could be interrupted, canceled, or leave you facing fines, so it pays to ask early.
Rules depend on who manages the land, so ask the office or owner that runs the place before you commit to a date. National park lands got clearer when Section 125 of the EXPLORE Act, signed on January 4, 2025, rewrote the park service’s approach to filming and photography. It treats commercial and noncommercial work the same, so it no longer matters whether the shoot is for a client or a personal project. A group of eight or fewer can usually shoot without a permit or fees, provided the activity leaves park resources untouched and does not disrupt other visitors. Federal law also generally bars agencies from requiring a permit for groups smaller than six, while groups of six to eight may need a de minimis use authorization, which is not a permit and carries no fee.
Larger groups, or setups involving equipment beyond what you can hand-carry or put on a tripod, can require a permit. When one is required, expect an application fee plus a location fee, and know that these vary by park. Permits are never required for filming or photography tied to an activity already authorized in writing, such as a wedding or sporting event, though entrance fees still apply.
Private property is a different conversation. Call the building manager or owner well ahead, ask whether they need to be named on your insurance policy, and ask for a certificate of insurance if they do. Liability coverage requirements at commercial sites commonly run from $1 million to $5 million depending on the property. Some corporate, school and government sites also require background checks for site access, and those take lead time that varies by state, so ask about it during your first call.
One Week Out: Build a Shot List and Work Around the Sun
A written shot list keeps a location shoot efficient and keeps you on track when the light is changing and people are waiting. List every image and clip you need, group them by camera position, and put the shots that depend on specific light at the times that light actually happens. If you are shooting video, note the b-roll you want so it does not become an afterthought.
Work with the sun, not against it. Midday sun from directly overhead is the hardest light to tame, so schedule people-facing shots for early or late in the day when the sun sits low. If your only available window is the harsh middle of the day, our article on softening harsh sunlight in outdoor photos offers ways to make it workable. Also send the final schedule and shot list to your site contact a week out, including anything they need to arrange, such as property access or parking.
The Day Before: Gear, Batteries and a Weather Backup Plan
Charge every battery, including the spares, and format your cards after confirming last shoot’s files are safe. Pack lenses, a tripod, gaffer tape, a lens cloth and any modifiers on your list, plus extension cords and adapters if you scouted outlets. Check the forecast and decide your trigger point for calling a postponement.
Print the paperwork, too. Bring copies of your permit, your certificate of insurance, your client’s name and contact information, and a letter authorizing your access. If security or police approach, that stack of paper turns a tense conversation into a five-minute formality.
Shoot Day: A Working Order From Setup to Last Frame
Studio tip: When someone in uniform approaches, do not avoid them or react defensively. Smile, offer your permission documents right away, and explain who the client is and why you are photographing the location. Most encounters end with a short report and a wave back to work.
Arrive early enough to set up before your first scheduled shot. A workable order looks like this:
- Walk the site once, confirm your planned positions still make sense, and note anything that changed since scouting.
- Set up your first camera position and shoot a few frames to check exposure and composition before anyone is in them.
- Work through the shot list in light order, not list order: the shots that need specific sun come at their hour, and everything else fills the gaps.
- Shoot wide scenes first, then move to details and close-ups, which are easier to redo if a schedule slips.
- Check cards and batteries at each position change rather than waiting for a failure.
- Grab establishing shots and b-roll on the way out while packing up.
That Evening: Back Up, Log and Wrap Up
Do not let the files sit on one card overnight if you can help it. Copy everything to a backup before the night ends, and only format cards for the next shoot after the copies are verified. Our guide to backing up photo and video files with the 3-2-1 rule explains the full system.
While it is fresh, spend ten minutes on notes. Mark the shots you got and the ones you missed, note any permissions or releases you still need in writing, and jot what you would change about the location for next time.
That wraps the timeline. When the next job comes up, run through our pre-shoot lighting checklist before you load the car, and lean on the backup routine above to keep the files safe once you are home.
FAQs
Do I need a permit to shoot in a national park?
In most cases, no, if your group has eight or fewer people and the activity does not harm resources or disrupt other visitors. Groups of six to eight may need a free de minimis use authorization, and larger groups or setups with gear beyond a camera and tripod can require a permit with application and location fees.
How far in advance should I apply for a photography permit?
As far in advance as possible. Some parks process applications in the order received, and permits for corporate, academic or government sites can involve lead time for background checks. Contact the agency or property owner early to confirm costs and timing.
What should I do if security approaches me during a shoot?
Stay calm, have your client’s name and contact information ready, and explain who you are working for and that you have permission. Security and police are doing their job, so cooperating politely usually resolves the situation in a few minutes.
When should I back up my files after a shoot?
The same evening, before you sleep or format anything. Get the files copied and verified first, then clear your memory cards.