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Attitude Counts

Guidelines for Assistants

By Pamela Kruzic

The following is a compilation of responses that the author received after posting an inquiry on the ASMP members-only forum at [www.asmp.org] combined with her own experience as an assistant. Information providers: David Budd, Alan Farkas, George Fulton, Ira Mark Gostin, Tom Hussey, Jeffrey Jacobs, Deborah Gray Mitchell, Harrison Northcutt, Michael Sharp. Edited by: Ira Mark Gostin and Michael Sharp. Special thanks to Jerrianne Lowther and Roy Buckner.

Introduction

Working with an experienced, professional commercial photographer can be both exhilarating and exasperating. If I had to pick one thing that it takes to succeed as an assistant it would be an unequivocal dedication to the successful completion of the project. You will receive none of the credit, except possibly from the photographer who recognizes and praises your contribution. The rewarding experience involves the intrinsic satisfaction associated with taking part in the creative process and helping to overcome and resolve the numerous problems. At the end of the day, you may be dirty, tired, wired, scraped, pinched, and punchy. On the other hand, some projects may be so low key and enjoyable that getting paid seems a little peculiar. One day it is setting up for forklifts and backhoes, the next it is wedding cakes and ribbons, or celebrities and CEOs. It is this type of variety that keeps making each day a new and exciting adventure.

There is one aspect to be aware of when working with a photographer for the first time. Initially, your every move will be watched. It may seem that he/she is finding fault with everything you do and the way you do it. Don't defend or argue. This usually originates from the fact that the photographer is watching to see that his very expensive equipment is being handled properly, and also trying to help you do your job better. Once they are comfortable with your capability this will subside.

Another aspect to be aware of and remember is that the photographer is under a great deal of stress. He/she carries the responsibility for the project's success. The more professional photographers are less likely to let pressures affect the treatment of their team, but it can happen. Not that anyone should accept verbal abuse, but if you are spoken to sharply or abruptly at times it may be from pressures that you are not aware of. Just move on. Hurt feelings, grudges, and anger just get in the way of your concentration.

An assistant may be able to avert some problems by simply noting and interpreting small details in the photographer's actions. For example: If the photographer walks across the room to set down his/her drink instead of next to the shooting area, then obviously don't set your drink in the shooting area. On the other hand, just because the photographer gives a lens cap a toss into the camera case, this is not permission for the assistant to do the same. Just use common sense and pay attention.

Remember, an assistant is a part of a team, a tool that the photographer uses to achieve his vision. You are not there to talk about yourself. That was done when the photographer hired you. No chattiness with clients, art directors, etc. Common courtesy and pleasantries are fine, but remember your purpose is to be there for the photographer and do everything within your power to help him/her attain the artistic goal and to not interfere with a smooth shoot.

Attitued/Attributes

Above all else, an assistant must have a positive attitude including a sincere desire to be there, a willingness to learn, enthusiasm towards the project.

Be a listener, flexible, efficient, punctual, able to follow instructions, aware of what is going on, motivated and show initiative. You must be able to swallow your pride - it is not a question of "if you will catch it," just when. Whether it is your fault or not, you might as well get over it and move forward.

Anticipate what is going on, what will be needed next, what will next go wrong and prevent it. Remember good manners and be politically correct. Also important is compatibility. Try to be amiable, sometimes it works, sometimes not.

Communication

Try to get an understanding of what is expected of you. Each photographer has different requirements and expectations. Talk to him or her, build a relationship. Know when to speak and when to be silent. Chattiness is deadly. Most likely you will miss something important if your lips are flapping. Be aware that sometimes you will be listening between the lines, to subtleties.

Don't assume. If you're not sure, ask. Better to ask and feel stupid than to not ask and be stupid, and possibly destructive. Be discreet: if you need to let the photographer know that something isn't right, don't announce it to the whole set. There is a time and a place for everything; figure out when/where that is. A good photographer is alert to his/her team and will usually be able to recognize that you need to tell him/her something.

Preparedness/Tools

Wear the proper clothing for the job, and ask beforehand. Also, ask about the nature of the job. Some of the tools you should have in your kit are a sharpie pen, watch, fanny pack, small pad for notes/instructions, a survival tool, Band-Aids, aspirin, and for emergencies: some cash ($20-$40) and a quick snack/water.

A more advanced kit might include: a small flashlight, various tapes (black photo, white, double-sided), a plug-in electrical circuit tester, work gloves, dual timers/clock for timing Polaroids, and various hand tools.

The A.S.H.: This is an Adjustable Sense of Humor that can be set to fit each photographer's personality. Don't forget to bring it.

Safety

Think. Don't run around impulsively. Move carefully and decisively. Protect equipment from theft and damage. Use down time to repair, organize, re-stock, check cords, and clean-up set. Protect against trip hazards, such as cords, stands, or wires. There are certain ways to set up stands and hang cords. Your carelessness could be quite expensive to the photographer.

Skills/Technical

Be alert to what is happening or is not happening with the equipment. Be attentive to: sync cords, recycle times, strobes firing, gels, reflectors, stands, props. Watch that slaves don't get blocked. Notice where gear comes from and put it back in same place, same way. Keep equipment clean and organized. Put things back in cases instead of around set so they are less likely to get lost.

The following advanced skills are things to consider only if the photographer has requested your added participation. Never touch the camera unless instructed to do so. 35mm - check that shutter speed is not too fast for sync, Medium/large format - pull dark slide, check that sync cord is connected. Make sure f-stop and shutter speed are correct for film being used. Be able to load various formats of film.

Cameras differ and a photographer can review any peculiarities of his/her equipment. If you have to be taught, don't expect to be paid full rate. Count shots and be ready for roll changes. Put roll numbers on the film and keep with the Polaroids in one place. Keep track of: exposures and pertinent technical data, model releases, materials used as required by photographer. Make sure all cameras are unloaded at end of shoot (double check that they are rewound before opening back).

Never shoot while photographer is shooting, unless requested to do so.

Business

Keep track of all receipts and reimbursable expenses to include with invoice: mileage, tips, and similar and make sure they are legible.

Have your invoice ready to present at end of shoot. Include: Client name, shoot date, your address, phone number, and Social Security number. (Some photographers will request invoice mailed or faxed within a specific time frame. Omission of this information will delay your payment.)

Practice confidentiality about client and photographer. Gossip is for busybodies, not a professional assistant.

Ask for photographer's business card. It helps to have contact information (for a variety of reasons) and can give you ideas when you begin to look at designing your own stationery.

Finally

This is vital: Always remember that you were hired by the photographer to assist. You were not hired to: Promote yourself; tell the client how you would do a shot; or discuss money matters around the client or the art director.

© Pamela Kruzic. Pamela Kruzic is a freelance assistant based in Knoxville, Tennessee and is an ASMP affiliate.

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