Chasing the Light: Where I Actually Shoot My Outfits When I Travel America

Let's be honest about how we pack now. Half of my suitcase decisions come down to one question: what will look good against where I'm going? If you've ever planned a sunrise alarm for the sake of a photo, this one's for you. These are my tried-and-true American backdrops — where they are, when the light hits, and what colors to wear so you don't disappear into the scenery.

The Pastel Streets of San Francisco

Specifically: the stretch of Victorian houses around Alamo Square and the famously painted ladies, plus the quieter pastel rows in the Mission. The candy-colored facades — butter yellow, seafoam, dusty pink — are basically a color wheel handed to you for free.

When to shoot: Mid-morning on a foggy-burned-off day. The classic SF fog acts like a giant diffuser, which is a gift — no harsh shadows on your face. Avoid late afternoon; the streets east of the park go into shadow early.

What to wear: This is the one place I say go bold. A saturated red or cobalt dress against a pale yellow house is a full magazine spread. If bold isn't you, cream and camel tones look expensive against pastel brick.

Solo tip: San Francisco is used to photoshoots. I've asked joggers, dog walkers, anyone — people here will take your photo without making it weird. Arrive before 10 a.m. and you'll often have the sidewalk to yourself.

Kansas Sunflower Fields (Yes, Really)

August in Kansas is sunflower season, and the fields around Lawrence and the Sunflower Festival grounds near Grinter Farms turn into six-foot-tall gold for about three weeks. It's the most underrated backdrop in the country.

When to shoot: Sunrise or nothing. By 10 a.m. the heat is brutal, the flowers face away from you, and the light goes flat and yellow in the wrong way. I set a 6 a.m. alarm in the middle of a cornfield and I'd do it again.

What to wear: White, denim, or soft blue. Do NOT wear yellow — you'll blend into the flowers and vanish. A white sundress against all that gold is the shot. Bring bug spray; the photos don't show the mosquitoes but your arms will remember.

Solo tip: A small tripod and your phone's timer or a Bluetooth remote is all you need. Fields are flat, so set the camera low and let the flowers fill the background.

The Lighthouses of Maine

Portland Head Light in Cape Elizabeth is the one everyone shoots, and for good reason — but my heart belongs to the quieter Pemaquid Point, two hours up the coast. Granite ledges, white lighthouse, Atlantic blue behind it.

When to shoot: The last ninety minutes before sunset, which in Maine summers stretches gloriously late — golden hour can start at 7 p.m. The low light turns the granite pink.

What to wear: Navy and white, obviously — coastal without being costume. A striped knit, a flowy midi skirt, espadrilles you can actually walk on wet rock in. Avoid gray; it dies against the fog.

Solo tip: The rocks are slippery and your tripod will not stand on them. Instead, wedge your phone against a rock or use the ledge itself as a foreground element — sitting shots on the granite are the most flattering angle out there anyway.

The Rules I've Learned From All of This

After years of dragging a garment bag through airports, a few truths hold everywhere:

• Overcast is your friend. Clouds are nature's softbox. Sunny days are for being outside; cloudy days are for photos.
• Pack one color per location. Choose your outfit color after you've seen the backdrop, not before. Contrast is everything.
• The tripod is worth the suitcase space. Two pounds of aluminum is the difference between "ask a stranger" anxiety and taking your time until the light is right.
• Golden hour is a location, not a time. Plan where you'll be standing when it happens, or it happens without you.

The best part? None of these spots cost a dime. The light is free, the backdrops are public, and the only real investment is the alarm clock. Set it early — the fields don't wait.