Episode 22 - Planning and Scouting for Photography Trips
- Shutter Nonsense
- Mar 10
- 8 min read
Being prepared, not pinned down
In this Shutter Nonsense episode, Michael and Jeffrey break down a practical, no-nonsense approach to planning and scouting photography trips without killing the spontaneity that leads to the best images. They cover how to plan differently for new versus familiar locations, why photography-focused guidebooks beat scattered online research, how to watch weather in the final 7 to 10 days to make smarter pivots, and how to use pins, notes, and quick reference photos to turn scouting time into long-term advantage.
The big takeaway for photographers is simple: do enough prep to arrive confident, then stay flexible enough to chase rare conditions, adapt your subjects, and come home with stronger work even when the forecast does not cooperate.
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Contents
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Episode Summary
Planning a photography trip is a balancing act: do too little and you waste precious time once you arrive, do too much and you risk chasing a rigid checklist that collapses the moment weather changes. In this Shutter Nonsense episode, Michael and Jeffrey dig into what actually works, from choosing destinations and building a loose plan, to scouting on location and staying creative when conditions refuse to cooperate. The throughline is simple: show up prepared, but stay flexible enough to capitalize on what nature gives you.
Start With One Question: New Location or Familiar Ground?
Michael kicks off the planning section with a practical filter: is this a brand new location, or somewhere you already know? That single answer changes the entire prep process. A first-time destination typically requires more structured research and a clearer short list of areas to explore. A familiar place allows for a looser plan, but it also comes with a trap: it is easy to fall into comfort zones and revisit the same overlooks, trails, and compositions over and over.
Jeffrey pushes this point further by describing how returning to the Smokies still demanded intentional exploration. He had “tried and true” locations he revisited, but he also dedicated time to exploring deeper, including spending hours on the Roaring Fork Motor Nature Trail and pushing into areas he had not previously prioritized, like the North Carolina side. For Jeffrey, revisiting is not about repetition. It is about peeling back more layers.
Use Photography Guidebooks for Logistics, Not Shot Lists
When it comes to pre-trip research, Michael and Jeffrey make a strong case for photography-focused guidebooks. Michael describes learning this lesson the hard way on his early Utah trip, arriving with too little preparation and relying heavily on a guidebook his travel companion brought along. That experience reshaped how he prepares now, because a well-made guidebook consolidates access details, timing guidance, and location context in a way that scattered online posts rarely match.
Jeffrey agrees, noting that the best guidebooks act like a launchpad. They get photographers into the right areas and provide enough structure to explore intelligently, without spoon-feeding exact compositions. The key distinction in their approach is important for the audience here: they are not using books to copy photos. They are using books to reduce uncertainty and friction, so they can spend more time seeing and less time guessing where to park, how to reach a trail, or when light might work.
Pick Destinations Based on Season, Goals, and Reality
The episode broadens into the “why this place?” question. Michael explains that choosing a destination often comes down to the season and what the trip is trying to produce, whether that is fall color, waterfalls, wildflowers, or winter contrast. He points out that season can eliminate options fast. For example, Utah in July is a hard sell if the goal is enjoyable hiking and productive shooting. By contrast, July in parts of Colorado can align well with wildflowers and high-country conditions.
Jeffrey echoes the idea that conditions and timing matter as much as scenery. Waterfalls can be spectacular or disappointing depending on rainfall patterns. Fall color can shift dramatically by location and elevation. The practical takeaway for photographers is to define the goal first, then choose locations that can realistically deliver that goal in the time window available. That mindset avoids the common mistake of picking a place because it is famous, then arriving outside the conditions that make it shine.
The 7 to 10 Day Rule: Plan Loosely Until Weather Becomes Real
One of the strongest tactical lessons comes from how Michael and Jeffrey treat timing. Both describe keeping the plan relatively broad until forecasts become reliable, usually within about a 7 to 10 day window. They might know the general region weeks in advance, but they avoid locking specific days to specific hikes too early. This is not procrastination. It is strategy.
Michael gives a clear example from Bryce Canyon. When snow appeared in the forecast, he reorganized the trip to chase the window instead of sticking to the original schedule. That pivot led to dramatic conditions that would have been missed with a rigid itinerary. Jeffrey reinforces the same concept: he tends to hold a set of general areas, then starts “slotting in” choices based on whether a day is better for waterfalls, overlooks, or wooded scenes, depending on cloud cover and rain patterns.
For photographers, this is a huge mindset shift. Planning is not about predicting the perfect shot weeks ahead. Planning is about building options so that when weather becomes clear, decisions are easy and fast.
Avoid Preloading Your Brain With Other People’s Compositions
Michael makes a point that will resonate with photographers who care about originality. He prefers not to spend the days before a trip bingeing location-specific photo searches on Instagram, 500px, or galleries from photographers who are known for that area. He is not against inspiration in general, but he wants to arrive with fewer preconceived compositions fresh in his mind. The goal is discovery, not recreation.
Jeffrey agrees and adds a useful nuance. If he does look at images, he prefers more documentary-style references, such as local community groups where people share quick phone photos. Those can provide a realistic sense of what a place looks like without imprinting a polished “hero composition” that is hard to unsee. The result is a planning style that stays practical while leaving creative decisions to the field.
Digital Scouting With Maps, Pins, and Topography
When the conversation turns to tools, Michael describes a heavy reliance on mapping and pin systems. He prefers dedicated outdoor apps that provide topography, trail context, and 3D views over basic map tools because they offer more usable information for photographers. The exact app names matter less than the workflow: identify possibilities, drop pins, organize them by location, and build a long-term library that survives beyond a single trip.
Jeffrey mirrors the approach with his own mapping system, emphasizing that pins are not just for navigation. They are also a way to capture creative potential. A pin can be tied to a note, a reference photo, or a reminder that a scene would work better in different conditions. Over time, that becomes a personal database that improves every future trip.
In-Field Scouting Turns Bad Light Into Productive Time
A key shift in the episode is how both photographers treat “down time.” Michael describes arriving midday, when light is often harsh, and using that window to drive, explore, and scout rather than forcing bad photos. He will pull over, take quick reference images, drop pins, and build a set of options for the next morning or later in the trip. He also connects this to energy management. After a demanding hike, he might intentionally take a slower day and use it for exploration and scouting rather than pushing for a big shoot.
Jeffrey shares a specific example of visiting an impressive waterfall at an unflattering time, then choosing to scout anyway. He documented the scene, made multiple pins, and attached phone photos so that on a later trip he could return under better light with a plan already formed. The point for the audience is direct: scouting is not a consolation prize. It is an investment that turns imperfect conditions into future leverage.
Planning vs Creativity: Flexibility Prevents the Frustration Spiral
The creativity section lands hard because it is rooted in real behavior. Jeffrey argues that overly strict planning creates frustration when conditions fail to match expectations. A shot is missed, disappointment builds, and then the entire trip becomes a chase to “fix” what the plan promised. That mindset can wreck creativity and enjoyment at the same time.
Michael agrees and adds a different failure mode: too little planning can also crush creativity because the photographer arrives overwhelmed, defaults to safe locations, and never finds momentum. Their shared conclusion is that planning should create options, not obligations. The best trips are guided, but not dictated.
They also make an important point about flexible seeing, not just flexible scheduling. Sometimes the plan leads to an overlook, but fog eliminates the vista. The response is not to declare failure. The response is to switch targets to intimate details, shifting atmosphere, layered ridgelines, or abstract shapes. That creative pivot is what separates a productive trip from a frustrating one.
Wrap-Up: Prepared but Flexible Is the Point
Michael and Jeffrey repeatedly circle back to the same message because it solves most trip problems. A photographer should do enough planning to avoid wandering blindly, but not so much that the trip becomes a rigid checklist. Guidebooks and local intel can provide a strong foundation. Weather watching in the final 7 to 10 days can shape smart choices. Mapping tools and pins can turn scouting into a long-term advantage. And most importantly, flexibility protects creativity, because it prevents frustration and encourages photographers to respond to what the landscape is actually offering.
For photographers planning their next trip, the episode’s advice is practical and repeatable: build a loose plan, arrive with options, scout when light is bad, and stay open to changing both location and subject when conditions shift. Prepared, but flexible is not just a motto. It is how photographers consistently come home with stronger work.
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Follow your Shutter Nonsense Hosts
Michael Rung
Michael is a nature and landscape photographer based in Texas, with a deep appreciation for quiet forests and the unique character of trees. His photography often explores the subtle beauty in overlooked scenes, capturing atmosphere and emotion through careful composition and light. Michael brings thoughtful insight, honest reflections, and a grounded perspective to every episode of Shutter Nonsense.
Jeffrey Tadlock
Jeffrey is a landscape photographer from Ohio who finds inspiration in waterfalls, scenic overlooks, and the ever-changing light of the natural world. He enjoys sharing stories from the field and helping others improve their skills through practical, experience-based tips. With a passion for teaching and a love of the outdoors, Jeffrey brings clarity and encouragement to fellow photographers at all levels.
