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Yesterday, I started assisting on a two-day gig with a local photographer who shoots a lot of residential architecture for editorial. We had a number of interior shots, and possibly some exterior shots that were still being sort of figured out together by the designer, architect, and photographer. We knew we were cramming a lot of work into a one and one-half to two day shoot, but that’s how it goes these days. Digital photography has really created a fervent, fast-paced production schedule for all types of shoots. This has made it very necessary for the assistant to be a good multi-tasker, be proactive, and to be able to roll with the punches.
It seems, more and more these days, that the photographer’s artistic eye is counted on by others to make the shots. The designer and architect knows what they want, but many times they don’t know how to communicate it to the photographer. So the photographer shows up on set, meets with the client, and discusses shots while you, the assistant, hauls in the gear, sets up and stages lighting, grip, and camera. On a shoot where there are many shots, there will likely be a couple assistants, so one is always setting up the next shot while the other assists the photographer with the final touches before shooting. All this, and the photographer is thinking about the next shot or two, keeping the clients ideas in mind to satisfy their needs, and getting approvals if necessary. So, the photographer is always kind of wandering around, thinking out loud, giving you instructions, talking to client or designer, changing their mind, giving you new instructions, on the phone, making camera and lighting tweaks, and on and on. You, the assistant, needs to make everything happen that the photographer needs, on the fly.
You need the mental and physical wherewithal to meet these demands to be a good photo assistant… So, for the next shot start by setting a small box on a c-stand with a gobo arm at the top of the stairs, quick change out the can-lights with strobe bulbs, then set a clamp light with an extender in the wine room, run back and add cinefoil to a small box to lower the bleed on the ceiling, back to the next set-up and set power to split two heads off one pack, making sure the cables will be out of the way, then back to camera set and tape up a lamp cord out of view behind the side table leg, run outside and tweak the “sun” light on the combo, remind the landscapers nicely to be aware of the cords coming out from the garage, back inside and rake the carpet, add another clamp light to brighten a corner in the back room, adjust some more lights for ceiling bleed, sweep the floor, and then, finally shoot. Then break down this set as you continue building the next lighting set-up, and start thinking about the next shot after that. In addition to all this, in between all the mayhem (when I had a couple extra minutes), I took down about twenty strings of Christmas lights wrapped around a large tree in the front yard, from a ladder about fifteen feet up, so we can do a dusk exterior shot tonight. After eleven hours of this, even I was exhausted. You better have some stamina and mental aptitude to get through a day like this!
Don’t worry, you will get the experience and wherewithal. If you are scratching your head and saying, “No way!,” believe me, you will. But it takes some common sense, perseverance, and knowledge about the gear you’re working with. If you ever find yourself in-over-your-head on a shoot like this before you feel confident about it, make sure you befriend the 1st assistant or the photographer and let them know that you need a little help getting up to speed. If you don’t, you probably won’t work with that crew or photographer again. If you’re honest and up-front, most will feel empowered by taking you under their wing and you will have made a good friend and colleague.
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