A Photo Assistant » general

What the Heck?

Tim Olsen — Wed, 29 Feb 2012 03:48:40 +0000

I know, I know. It’s been forever since I’ve posted. I’ve received a few emails recently asking me, What the heck? Let’s just say it was a much needed break. But, I think my batteries are plenty well recharged and I’m ready to jump back into the deep end.

During the past five months, I’ve traveled home to Minneapolis, from L.A., only to return back to L.A. a few months later. I still love everything about Minnie, except winter, even if it is as mild as it has been this winter. Los Angeles, too, has been warmer this season! I guess I’d have won, no matter where I spent my winter.

As you may have noticed, I’m currently working at expanding APhotoAssistant to include a directory listing for students and assistants. It probably won’t be anything as elaborate as PhotoCrew, but I hope to encourage everyone who signs up to participate and share with one another, so as to foster a real learning environment and help everyone to be the best photo assistant that they can be. When I started APhotoAssistant 3-1/2 years ago, I envisioned an active community of positive professionals where everyone was excited to work in a vibrant photo industry and to share experience, skills, and tips with one another to uphold a professional standard which would benefit all. At any rate, please take a moment to explore the Photo Assistants Directory page and sign on by listing your profile.

I am also hopeful to start implementing some more video into the content for the site. I have been working with more photographers, recently, who are shooting DSLR video and offering that as part of their service to their clients. With that came the idea to start delivering content for APhotoAssistant via video format. Actually, I intended to start this some time ago, but my workflow made it nearly impossible, then. I believe the time is now, or never… So, you can expect to see some video interviews with photographers, assistants, and other creatives. I also hope to feature some tips and tricks, and feature gear and pointers from other assistants.

By making some of these changes at APhotoAssistant, I may have interrupted some subscribers’ RSS feeds. If you want to be notified via email or your reader, I encourage you to resubscribe, just to make sure you will continue to be notified. Thanks!

Please Pardon The Mess…

Tim Olsen — Sat, 03 Dec 2011 22:34:37 +0000

Stuff may look unfamiliar and be in a bit of a disarray around here for a bit. I am currently looking at implementing some new features here at APhotoAssistant. I will update everyone with all the new goodies to come, as soon as I can get familiar with the new software and get things in order. Just to give you a hint of what’s on the way… APhotoAssistant is creating it’s own network. Stay tuned….

In the meantime, please poke around the articles.

To Meter, or Not to Meter

Tim Olsen — Wed, 26 Oct 2011 17:30:20 +0000

I’m a rather easy-going guy–easy to get along with, open-minded, always teachable, and willing to try new things. But one thing that drives me absolutely nuts is when I meet an assistant who doesn’t know or understand how to read and meter light. Just how do you actually know what the light will look like in your image? And, if you tell me we will see it on-screen, no big deal I’m going to send you home and never hire you again! Well, maybe I won’t do that, but I know a few photographers who might. The bottom line is that as an assistant, you have to understand light, inside and out. And looking at it on-screen just isn’t good enough (in my book) unless you’ve been shooting for 20+ years and can find your way around a darkroom with the safe-light off.

I’ve worked with plenty of shooters who really don’t use meters anymore. This is usually because they have been shooting the same types of subjects, over and over, under the same lighting conditions, with the same gear, and in the same space, for years and years. Okay, I get it. Tell me where to set the lights and what the power settings and light modifiers are and chances are we will get dang close to what they expect. If you are a new assistant, however, you will never really learn lighting this way. The chances are good that such a photographer started their photo career with film and using meters. Then, as they transitioned to digital, they became so completely tuned in to the differences and similarities between film and digital, and how it related to their lighting preferences, that they could light and relight their setups blind-folded. I can almost guarantee that a student, fresh out of school, will not be able to duplicate such a workflow. It takes years of practice–lighting, metering, adjusting, seeing the results on film/screen, readjusting, and so on.

Knowing light is absolutely crucial to communicate the client’s message in the image. I’m talking about the physical qualities and the emotional nuances of light. Careful, critical study of all types of light will greatly increase one’s ability to re-create a specific light, on-set, when called to do so. The use of a light meter will give you good starting points when designing a lighting layout. Knowing the intensity, direction, and color temperature of the light will create a more definitive picture in your mind about the light, even before you see the first image. The ability to create a specific type of light quickly and efficiently based on the client’s needs is paramount for a good photo assistant, lighting designer, and photographer. Another factor to consider here is lighting for video, as more and more photographers are turning to video capture with DSLR’s. Consider what has happened to Vincent LaForet’s career.

I understand that digital has made parts of our lives as photographers easier. But, I also subscribe to the fact that maintaining as much control over the shoot on-set, prior to post, is what makes a true professional. Controlling your light, of course, is a big part of that. Competency with a light meter and lighting a shot or set will free up the photographer to work more closely with the art director and client. Knowing how your light will look even before the first test image is shot not only makes the shoot go smoother, but it will make the editing process, on-set for the art director and in-post for the retoucher, much easier. I’ve yet been unable to accomplish any of this without using a light meter.

Whenever I’m on set as a first assistant, I will usually have a clear idea of what the lighting direction will be for each shot. I will pre-visualize what the lighting set-ups will be, where the lights will be hitting, what modifiers I’ll use, and what the power of each light will be in relation to one another. Metering each light individually will tell me almost precisely what it’s doing, at least in power and direction. When I use a light meter, I can at least take much of the guess-work out of the equation. If I’m mixing light sources or require a balanced color temperature on set, I’ll meter for that, too.

I’ve always been a continuity buff when watching TV and movies. It first started out when I would catch wardrobe malfunctions and camera angles. But then, as my awareness increased, I started detecting subtleties and shifts in lighting–colors, direction, and quality. That, in turn, started me thinking about how lighting, just like music and sound effects, can create emotions for a desired effect or reaction. Study Film Noir and other classic films by Hitchcock and Welles. Even in black & white you can feel anxiety with contrast, fear in deep shadows, movement with lighting direction, and so on. I love to study light in film. Watch the HBO series, Six Feet Under, especially the first two seasons… the lighting freaking rocks! Most people watch TV and film for the story or the character. But, when you really dissect the lighting, music, and camera movements you can really begin to understand how these elements really support the story and character.

The same is true for the talent, product, and environment in a still photograph. There are zillions of images in magazines, online, signage and billboards. Look at them critically and objectively. Ask what the emotions are that are being illustrated. How is this being achieved with light–color, direction, how many lights are being used, what are the sources, what is each one doing, and how is each one being modified? Think about how a different composition might change the mood, and how the light should change with such modifications. Consider what went through the photographer’s or art director’s mind as the layouts were discussed in pre-production. Study lighting diagrams in lighting books and really understand how much can be done with just a few simple tools. Check out Guess the Lighting.

The following is a passage from Wikipedia: The word “photograph” was coined in 1839 by Sir John Herschel and is based on the Greek (phos), meaning “light”, and (graphê), meaning “drawing, writing,” together meaning “drawing with light.”

Once we draw, or paint with light, you will need a light meter to see what you drew!

Actual light meter operations are outside the scope of this article, as I intended it. Perhaps I will do another article, or video, in the future for some how-to instruction with light meters. There are many resources online, however. One of the best I’ve found is Sekonic. I would say that the best light meter to know for still photography is the Sekonic L-358. Rent one and learn it! Also, know and understand how to use gels and diffusion to color correct and control light output. Two good resources are Lee Filters and Rosco.

What are some of your experiences working with photographers, with and without meters? What are some of the situations you find yourself in where you aren’t using a meter, and why? Please talk about some of your experience in the comments.

APhotoAssistant is Back in the Saddle

Tim Olsen — Fri, 14 Oct 2011 20:31:00 +0000

Many thanks to Jack Mader, Photography Dept. Instructor at Minneapolis Community and Technical College, in Minneapolis, for having me out to his photo assisting class this past Tuesday to share with the students. I was part of a four-person panel of MCTC photography alumni who shared experience, stories, tips, and advice for students who are starting to work in the photo industry as photo assistants. I participated along-side Anna Rajdl, Roxanne Kajrum, and John Haynes.

Jack’s a great teacher and we had a great forum with his class. Very informal, but a real good sharing and Q & A session. We talked about everything from how to find assisting work, to what is expected of an assistant, to questions about filing taxes as a self-employed photo assistant and photographer. Here is a breakdown of the meeting:

Introductions

Experience

Beginning as a photo assistant

Becoming a digitech

Transitioning into photographer

Mishaps, horror stories

What to do

What not to do

Tech/Gear/Software

Etiquette

Working relationships/networking

This year’s Fall Portfolio Show for the MCTC Photography Program Students is entitled Elements and will be taking place Nov. 29 thru Dec. 3. Please mark your calendars. More info soon!

Now, I know it’s been a spell since my last entry here at APhotoAssistant.com. If you follow me on facebook or twitter you may have figured out that I was in Los Angeles for the spring and summer, working. While this opportunity gave me much opportunity to write new material for the blog, I simply was so busy that I just did not have the time. My apologies to those of you I left hanging. After the speaking engagement at MCTC, I decided it was high time to get back on my writing horse. I aim to relate some of this summer’s experiences, and others, in the near future.

So, here I am… again.

I am hoping to make some improvements to APhotoAssistant.com real soon, both in content and design. If you have any thoughts or ideas about what you want to see, read, or know about, please send me an email. I am open to all ideas and concerns.

If you have any questions about assisting, photography, or my services, again, please give me a holler.

Set Etiquette Do’s and Dont’s

Tim Olsen — Tue, 15 Mar 2011 00:01:39 +0000

Today’s post is by guest blogger, assistant/photographer Justin Sullivan.

Set Etiquette

A lot has been said about the technical aspects of photo assisting in the past. But one topic that hasn’t been explored as much as it should be is how to behave on set. There are a lot of things that can be learned over time, after many mistakes. But here are some guidelines that could help you save a little face, and keep you getting hired back for more work (and hey, that’s what we all want).

Things to Do:

Address concerns QUIETLY with the photographer. If you’re the first assistant working with a top photographer, and something is awry (or you THINK it’s awry) get his attention and speak with him about it as soon as possible in low tones. Photographers’ relationships with their clients can take years to build. The last thing they need is to look like a big dummy because you noticed a rookie mistake and blabbed about it loudly. Anyone worth his salt will appreciate your decorum. If you’re a second or third assistant, address it with the first immediately and defer to his judgment. This chain of command applies to just about every situation, but some sets are more casual. In most cases, play it safe and assume that everything goes through the first.

This leads us to our next point: Know the roles of everyone on set. You’re the photographer’s assistant. Great. Got one down. 10 to go. Who’s that lady in the corner? Judging by all of the brushes and pigments it’s safe to say she’s the make up artist. Easy. But what about the random person on the laptop over in the lounge? What about the kid carrying a pile of furniture pads in the background? There are all sorts of people who can be around, and if you’re unaware of the difference between the hair stylist and the prop stylist, you could find yourself messing the shoot up instead of helping it to go more smoothly. This could be an entire article on its own, but key people to know are the client, producer, wardrobe stylist, hair stylist, make up, and occasionally prop stylist. Each person I’ve mentioned is a department head on photo shoots, and should be treated accordingly. It’s like a microcosm of the film industry, and each department is responsible for a key part of the shoot. If you’re on some really high end stuff, you might end up addressing the wardrobe stylist’s assistant with concerns versus the stylist himself. But most of the time you can speak with any of these people directly and avoid any hierarchal concerns. It should be noted that you should never discuss any creative concerns with anyone without consulting the photographer first. For the record, photo assistants are more or less the equivalent of grip electric and camera assistants on film sets.

Be close by. Just because you got all of the lights set up and your exposure set doesn’t mean that you can go wander off and pick your nose somewhere. Your job is to be exceptionally available for the photographer whether he knows he needs you or not. On more than one occasion I’ve had to sit on the floor behind someone and act as a human pillow so they can shoot from a lying down position. Glamorous? Nope. Endearing? Yep. If the person who is essentially paying your bills has to look around for you more than once when he needs you, he’ll be understandably frustrated. Don’t give anyone a reason not to hire you back.

Watch the strobes! If you’re on set or location and using flash, make sure that the damn things are firing! Nothing makes you look worse than the strobes not going off and you not noticing. Chances are, while the photographer is shooting, you won’t be off building another set. Redeem that time by paying attention to everything you can on the active set and everyone will be better off.

Keep an eye on the exposure. When working with a digital tech this is pretty easy, and he’ll keep an eye on it too. But if you’re shooting to card, it’s really a great idea to check the camera settings as often as you can to make sure the photographer hasn’t accidentally bumped something and messed the whole thing up. This could be considered a technical aspect of photo assisting, but in my mind it’s a matter of consideration. Part of being a great assistant is making sure the photographer doesn’t look bad, and if something starts looking wonky, it’s good to know why and be able to correct it quickly.

If someone has to be the bad guy, make sure it isn’t you. Let’s say hypothetically that the client, hair, make up, wardrobe and the art director are all crowding around the photographer. Most people, including me, hate that. But as one wise man pointed out to me, one day those might be your clients, and the last thing you want to give them is a bad memory of you kicking them off of your set or making them move. That’s what producers are for. Go quietly mention to your producer that the photographer needs more space, and they will be able to handle the situation. You look like a billion bucks, and the photographer gets his space.

Know when to shut up. Being friendly is one thing, but nobody likes the guy who keeps carrying on all day. Gauge your crew and audience, but discretion being the better part of valor it’s often wise to keep your mouth shut. If you have to crack jokes, do it with the other assistants privately. Furthermore, don’t say stupid stuff in front of the client. They are where the money comes from, and chances are they don’t need to hear about how drunk you got the other day, or how good so-and-so is in bed.

Stuff Not to Do:

Stand directly in the talent’s eye line. If you don’t know what an eye line is, think about it for a second and you’ll figure it out. It’s not uncommon for celebrity personalities to be convinced that they are very important people, not unlike royalty. As such, they often prefer that you don’t look them in the eye, or touch them. Is this totally ridiculous? Yes. Do you still have to know it? Absolutely. The practical reality is that photographers need to have a connection with their subjects and it becomes increasingly difficult the bigger the crew is. As a result, it’s not unfair to limit the amount of interaction that you have that detracts from their connection. Not a hard and fast rule, to be sure. The key is to remember that the shoot isn’t about you, it’s about you making it go as smoothly as possible so the images look amazing. If someone is going to be high maintenance, that’s their prerogative. That’s why they are the talent, and you are the assistant. Want to change it? Get famous and then be nice to people. Until then, roll with the punches.

Don’t stand in front of the lights. I’ve been on shoots where a less than seasoned individual wasn’t paying attention and ended up blocking the lights. This should be a no-brainer, but it needs to be said. Photography is ABOUT light. Blocking it is bad form.

Don’t hit on the talent. For that matter, don’t hit on anyone. This isn’t high school. It isn’t college, or the bar, or a dating site. I don’t even care if you happen to be on a job WITH someone you’re ALREADY DATING. If you’re on set with me, be professional to everyone.

When crossing in front of the camera, let the photographer know. With digital it’s less life-threatening to burn a few frames, but if you’re shooting film, someone’s going to be mad that they just wasted valuable chrome just for a nice view of the back of your head. Wait for a good moment, then call out, “CROSSING!” before you go for a stroll and make everyone’s life easier.

The rushing-to-eat-first-maneuver is a move that I’ve seen a few people master. It’s less common at a certain level of this game, but some silly people still feel like they need to hustle up and grab catering as soon as it arrives. There are often a lot of hungry people on set, and just because you’ve been lugging C-stands around all day doesn’t mean that you’re more important than everyone else. Being courteous enough to let others go first is not only polite, it’s good business. I make it a personal policy not to ever eat before my photographer does. If nothing else it shows him that you’re conscientious and considerate, and often you’ll get waved on to grab your grub anyway. On a similar note, if you’re fortunate enough to have craft services on set, don’t be the vulture posted up shoveling snacks into your face. Grab a granola bar, and get back on set in case someone needs you.

Don’t pretend to know what everything is if you don’t. There’s always going to be some weird piece of grip equipment or light that you’ve never seen before. Being the person sent to the equipment room for a butt plug and coming back with an actual butt plug will get you in trouble. There are a million slang names for things, and there’s no shame in not knowing. ASK. If someone tells you then need the tall boy or the high roller, they aren’t expecting you to grab a big can of pabst out of your bag and hit the casino. People will appreciate your up front honesty more than you disappearing for 10 minutes to go look up what they are talking about and coming back with something that’s probably wrong. Believe me, someone asked me for a pineapple once and I wandered around the studio for half an hour before I found out he wanted a Hasselblad lens. Sometimes people make up their own names for things and if you’re too concerned with looking like you know what you’re doing, you might end up looking dumb. (Thanks to the homie Adam Rindy for reminding me of this one)

Finally, I’d like to quote my friend, photographer and 10 year assisting veteran Daniel Bergeron, who said this:

“Check your ego at the door, and know your role. Some sets are level playing fields, some are strictly delegated. Size it up immediately, and do your job, as appropriate. Some days, your opinion matters, and some days you are just a pack mule. Either way you are getting paid.”

Justin Sullivan is a rad freelance photographer in Los Angeles. He assists for a variety of advertising and editorial shooters in between hustling his butt off launching his own career. He likes sharks, getting awesome, and riding bikes. Good people like him. Bad people don’t like him.

You Are Not A Dinosaur

Tim Olsen — Sat, 22 Jan 2011 20:45:32 +0000

As you know, APhotoAssistant is about photo assisting. In this respect, I usually discuss things here in a commercial sense. But, I’ve also been trying to exercise a more artistic muscle, with a non-competitive flair, these days. I recently ran across a friend of mine on Kickstarter who has assembled a group of photographers who have produced an interesting body of work that they will be exhibiting soon. They have drawn on a unique perspective as inspiration for their project, so I thought I would talk with my friend.

Tim White is relatively new to the medium of photography, having spent many years as a painter. He is an occasional contributor to B&W Magazine, and lives and works in Minneapolis, MN. His current images can be seen here.

APhotoAssistant (APA): Tim, please tell us about the exhibit you are helping to put together… “You Are Not A Dinosaur.” I was immediately curious when I saw the name.

Tim White (TW): It’s a quote from a short story entitled Dinosaur by Bruce Holland Rogers. In two paragraphs a man lives out his entire life. He starts as a kid rattling the house with dinosaur antics, then his imagination fades away as he makes practical, adult choices until senility lets him become a dinosaur again. So our show has these core themes of responsibility and loss, but the ambiguity works too–that maybe it compels people to look further into “what is this show, and why is it rebuking me?”

APA: When I read the story I was immediately transported back to my childhood days and tearing around the neighborhood on my bicycle, causing grief for my parents and other grown-ups. I remember the adventures and imagination and the immortal attitude I had as a kid. But I also remember being bored, so impatient to grow up and be something. Daydreaming of all the possibilities, only to have them smashed by the “sensibilities” of elders and society. Sometimes I can’t help but wonder where I would be if I hadn’t given in to the restraints I fought as I “grew up.” Or, if I had been more sensible, myself, and not been so rebellious and defiant at particular times in my life. I don’t think I’m senile yet but, today I envision myself as a coyote chasing roadrunners in the desert!

TW: There’s a balance you try to maintain I think, somewhere after your twenties when you recognize that your stay here is temporary. It’s a tipping point a friend described as “when you realize how much you have to lose.” I’ve been around a lot of artists, hell I was one of them, who believe that suspending that recognition for as long as possible is the key to creativity, that fighting convention is a prerequisite for authenticity. Photography in particular demands a certain adherence to conventions, at least some technical proficiency to produce an image. That may be why you see so few savants in this medium- though I think we’re in a period that privileges not knowing what you’re doing; letting light leaks, motion blur, or expired emulsion do their thing. And I get that, for a generation that’s had so much emptiness sold to them with images. But even that aesthetic then gets co-opted to sell them more. With “dinosaur” I wanted to find photographers who worked less re-actively, more deliberately–people who know that Weston spent seven hours exposing a pepper–even if their aim, and results are entirely different.

APA: And what did you discover as you sought out these “less reactive” photographers? Was there a culture gap between generations… I mean, did this idea of “responsibility and loss” ring true, or at least similar for everyone, throughout one’s perceptions of life… or do you think, as an artist and as far as creativity is concerned, it’s more exclusive to a particular demographic?

TW: There are people, certain ideologies, who would love to make responsibility and loss the exclusive experience of people they fear. But “dinosaur” was not a generational, political, or an artistic thing. It was the interest in this narrative, more so than finding people who shot in a certain style; more a matter of having had certain experiences- or having examined your experiences thoughtfully. For some reason we kept circling around one aspect of Bruce’s story- that was the idea of concessions you make or don’t make to becoming a “responsible” adult. We didn’t want to produce a verdict on whether that’s confining, or noble, we simply wanted to explore the theme. I see it as a kind of emotional forfeiture when people elevate artist’s experiences or perceptions as more credible, more poignant than their own, and that passivity makes possible a lot of cons. We’re not peddling answers, tonics, or distractions. It’s more important, as Rilke wrote, to “live the questions now.”

APA: Okay, so maybe it was alright to trust my instincts and be a dinosaur? But, still, to not be distracted by other outside influences, then, or now? Are we still pointing our fingers… outside of ourselves?

TW: “You are not a dinosaur” isn’t going to fall on either side of living in your imagination vs. living in the real world. After all, the character in Bruce’s story provided for, and raised a family, and seemed pretty comfortable with his dementia at the end. When he was worried that his job, and decisions made him feel small, I think of the rapacious monsters that are spawned when a person believes they have to be “big;” we’d have a world of people posturing like Donald Trump. We started a flickr group to gather artist’s takes on this story from all over the world, and the responses have been incredibly nuanced, broad, and open. Very few of the contributors are being strident, or adding more than merely how they see the world.

APA: This is a very compelling project. Bruce’s story, your thoughts, culture norms, society’s grasp, artistic expression, even my own experience… It leaves me asking more questions than I thought I had in the first place. I will be very interested to see the work you and your colleagues will show. So tell us about the group of artist’s you’ve assembled and the exhibit.

TW: I wanted from the start to work with photographers from varied areas of the medium. We have documentary shooters, commercial, editorial, and “fine art” photographers. The commitment to starting an endeavor that could grow to include numerous other pursuits was critical from the beginning. We also wanted to shift the focus from conventional epicenters, and to work without the benediction, whim, or visions of a curator or figurehead. I think what’s unique about this project is that it grew from numerous, numerous get-togethers, and intense discussions about the state of the arts in general- whether an aesthetic of rusted trailers and eccentricity was satisfying enough, and whether certain avenues of inquiry were depleted. I feel like we’re offering a point of view that’s seldom seen, but we’re entirely welcome to a reception that it’s crap. We’d simply like to invite everyone to explore this story, “Dinosaur.”

We’re hosting several events as well as the usual opening and closing reception. On Feb. 19 we’re screening a film that addresses many of the issues we’ve talked about–it’s Grave of the Fireflies. Feb. 25 The Dreamland Faces will perform, and on March 5th Osama Esid will host a workshop on alternative photo processes.

Below is a list of links of participating artists and other pertinent links. I am excited to see this exhibit and encourage everyone to head on over to kickstarter and make a contribution to help ensure that this exhibit gets the attention it deserves.

Andrea Cole
Dan Marshall
Mike Dvorak
Osama Esid
Steve Ozone
Paula Warn
Tim White

YouAreNotADinosaur.org
Grant Proposal at Kickstarter
You Are Not A Dinosaur on Facebook
You Are Not A Dinosaur Flickr Group
Bruce Holland Rogers
Vine Arts Center