I say all this because it has become increasingly difficult, even for some experienced assistants, to get the good jobs with bigger budgets which allow photographers more freedom to work without too many constraints. In order to get these jobs, photo assistants (as well as all crew) should be able to bring something unique and specifically useful to the table. The photographer’s client must feel that they are getting excellent value for all the money they are shelling out to get the images that the photographer was hired to capture. The assistant and other crew, in turn, must contribute their best skills, services, or abilities which will lend to that overall value for the client.

I used to subscribe, almost exclusively, to the idea that photo assistants need to be a jack-of-all-trades, and that most photographers have become garden-variety shooters. While this may still be true in some ways, I have more, or less, discovered that the assistants who stay busy working with photographers who get the more lucrative jobs, are the ones who have tailored their repertoire to the specific needs of those photographers. It used to be okay to just be a general photo assistant–loading film, setting up lights, taking meter readings, and so on. But now, many shooters need assistants who can also do lighting design, minor digitech/basic retouching, prop styling, carpentry/painting, and provide basic production services, on-the-fly.

Earlier this month, I was hired by an out of town shooter coming in to Minneapolis to photograph, basically, just some medical device implants. Simple, straight-forward product shots. We chatted on the phone two days before his arrival. He told me a bit about the job and what he needed from me. He said that he had rented a studio space and that the rental lighting gear would be delivered. He thought we might also end up going to the clients offices, but wasn’t totally sure yet. I asked him to forward me a list of the lighting gear, if possible, so I might know how much gear I might be hauling back and forth. He also said he was shipping, via UPS, some basic grip and lens extensions from rental. Then, he mentioned that he may need a larger piece of sintra board to shoot some of the products on, but wouldn’t know for sure until he could have a pre-pro meeting with his clients after everyone’s arrival into town. There were actually a few other specifics that were up in the air, also hinging on more detailed communication from the client.

I told him that despite all the uncertainties,  we could easily meet whatever needs his client threw at him with the resources I had available. I mentioned that I was dialed in with the local rental stores and could easily get any additional gear that was necessary. I already knew where to get some sintra board, if he needed it. My vehicle could transport all the gear to the offices. I could easily return gear and his other stuff, shipping UPS, the day after, if necessary.

The first morning of the shoot, I started setting up lighting as the photographer met with his clients. After a few minutes, he came over to tell me that he wanted to pick up a larger sintra board, as we had discussed. Sintra is a light-weight closed-cell PVC, the relative equivalent of foamcore, but thinner, more rigid, and much more durable. I ran to the store that I knew would have some, only after many unsuccessful attempts to get through on the phone, that morning, and the previous day. Always call ahead. But, it seemed, that their phones lines were down for whatever reason. Of course, when I got there, they didn’t have it in stock. I explained the situation, that I needed it now, and how I had been unable to call to confirm their stock. The guy behind the counter got me the number of their supplier. But, first, I called another photographer friend to see if he had some sintra I could buy, but he was away from the studio. So, I called the supplier, arranged the order and and was ready to go pick it up when the photographer called me back to say we wouldn’t need it, afterall. Whew… first disaster averted!

Upon returning, the photographer was dismayed, after since discovering that the second floor rental studio we were in, had unstable wood floors, which made the products he was shooting jostle and bounce on their itty-bitty wire supports. This was a bit of a problem because previous lighting set-ups had necessitated the use of hot lights, and also for this shoot, so the exposure times were one-second plus. Bear in mind that we are shooting very small medical implants that require precise placement, alignment, and lighting for positioning, all within an overlay template to use on a trade-show booth. Luckily, we were able to control some of the traffic in the studio to diminish the product movement- just enough to get the shots we needed. The photographer was also prepared to re-shoot anything critical, back at his studio, but still wanted the client to at least sign-off on these shots, and then use just for FPO, if necessary.

Had the photographer had the foresight to check the rental studio for a solid, concrete floor as it related to the product shoot, I could have dropped-by the studio before-hand to check it out, and then made other arrangements if necessary. This is an easy one to miss, but nonetheless, is something to be mindful of. As it turned out, however, it wasn’t as critical as first conceived, since the photographer needed to shoot additional products that weren’t yet available to us at the time of this shoot. Re-shooting a few shots wouldn’t be too much more of a hassle. So, for the most part, this shoot became an opportunity for the photographer and agency to meet and hob-nob with the client. Can you say dog-and-pony show?

But, on the second day, it was decided that we would go to the medical device manufacturer’s office to take some executive portraits and environmental shots for collateral. I suggested we get some additional strobe lighting and grip, as well as a mag-liner. I also reserved a 70-200mm 2.8L from another rental place, as our lighting rental did not rent camera gear. So the next morning I made two stops to pick-up the additional gear and then met the photographer at the client’s office. The photographer told me that my ability to take care of this for him was, alone, worth my day-rate.

Later that afternoon, back at the studio, we finished the other product shots that remained. At the end of the day, I wrapped up, called for pick-up of the rented lighting gear, and packaged the items for UPS. The next morning, I returned the lens, and then went to a UPS Store and shipped the return items for the photographer.

Now, just imagine how much more value that could have been built with this photographer (as well as the photographer’s client) had he better-known, before-hand, some of his client’s specific needs, as well as some of the other things that would transpire during this shoot. If the photographer could have communicated that he for sure needed the sintra board, I could have purchased it the day before and had it at the studio, saving time and stress. If he could have told me that he needed a studio with a concrete floor for the long exposures, I could have made sure this was not an issue where he rented space from (keep this in mind and address it if you find yourself in this situation… you just might be a life-saver). And, if the client had known that we were to travel to their offices before-hand, the photographer could have been better prepared and ordered what gear he needed, stress-free, knowing that he had everything to get his shots. Of course, what I’m describing is a perfect-world scenario, and things never seem to happen just so. At any rate, a good photo assistant will have a deep network of resources available to him, to make the shoot as smooth as possible for the photographer and his clients when this stuff comes up. And, believe me, it will come up! In my situation, the photographer had many unknown possibilities, but I was able to tell him exactly what tools and resources I had in place that would make it all go smoothly, no matter what.

If you are going to work with studio shooters doing product, know your lighting and be well-versed in all the latest-and-greatest software. Understand digital asset management, workflow, and be able to do basic retouching and color correcting. If you are working with editorial shooters, be able to travel light and make creative use of everything at your disposal. Work fast and efficiently. Working with shooters who travel a lot have similar needs, but usually on a very high-end level. If you want to work with architectural photographers, understand color temperature, know your hot-lights, learn how to style and prop, and carry a carpet rake.

A good assistant might also have a lighting kit and camera gear for rental… and gels, clamps, and extension cords in their grip kit. Having a good vehicle to transport extra gear is a huge help. Knowledge of all the different camera capture software is becoming a standard, even if you’re not a digitech, as some budgets can’t accommodate both an a assistant and tech. Another good idea might be to have your own UPS or FedEx account for the photographer to use for shipping their gear.

Many times, in a pinch, photographers will scan through their emails to find the last assistant who emailed them. This happens for different reasons, but usually a photographer’s regular assistant(s) are unavailable, and so, they need to get somebody else lined up, right away, to help with a last minute shoot that their client sprung on them. So, the trick is, what can you tell them in an email, about yourself, and your skills as an assistant, that will make you stand out, and then help them remember you and find your email, even if it wasn’t the last one they received?

So, for you brand-spanking new assistants, you might want to try and figure out a way to market your extraordinary skills and services to photographers before they hire you, so that you will stand out from the crowd, from the very start. Or, at least, once you have worked with a particular shooter for the first time, they will know absolutely, that they will benefit from some unique skill or service of yours. What is it about you, as a photo assistant, that will make the photographer or producer call you for the next shoot? What value will they get by hiring you now, and in the future? What specific skill, experience, and attitude will make you the obvious choice, over all the other assistants, in their email in-box?

Whatever your assisting expertise–new gun, or old hand like me–make sure you communicate what you can contribute to the shoot. Figure out what specific needs your shooters have and tailor your grip kit, skills, and knowledge to those needs. Many times you will have to dig and research a bit to know what specifics are needed by a particular photographer or producer, but, they probably won’t ever know who can exactly be their best choice unless you spell it out for them.

Usually the photographer, lighting designer, or a producer will determine a list of gear needed. Other times you, the assistant, will be responsible for producing this list and placing the order with the rental house. No matter who makes the list and places the order, it’s important for the key people involved in the shoot to have access to this list, and the opportunity to make suggestions about additional or unnecessary items on the gear list. The different experiences of everyone involved will contribute to having the right items to do the job correctly. Ultimately, however, the photographer will usually have the last say.

When renting gear, there are many, many things to consider. First, if the photographer does not already rent from a regular rental house, you can usually locate a lighting/camera/grip rental shop easily, online. If you are having trouble finding what you need, call some photographers in the area that you will be shooting and ask them if they have any recommendations. If the photographer you’re working with is renting from a particular rental house for the first time, you will definitely have some paper work to fill out and submit in order to establish the photographer’s credentials. Usually the photographer or studio manager will take care of this, but depending on your relationship with the photographer, you may be asked to help. One thing you can always do, before ever being told by the photographer, is to obtain the applications from the rental store while you are determining where you will be renting from and comparing the rates and estimates. Another thing to consider while you are shopping is the condition of the gear and policies of the rental store. Most protocol is pretty standard, but watch for unusual fees and excessively worn gear. A good rental company will have properly working gear, in good shape, and repair or replace broken gear as soon as it’s needed.

Working with a rental company should be relatively simple, in that you should be able to just email them your list, and they will have it ready for pick-up at your desired time. They will usually work up an estimate, based on the gear and how many days you will be renting it. If you have special needs, or if you’re not sure that you are able to rent a particular item at your rental or grip-house, always ask them because they may have what you need lying around and just haven’t updated their catalog. This is especially true if you require larger hot lights that aren’t owned by the rental shop you are using. They will also probably have relationships with other rental companies in town, and can get you a sub-rental through another vendor. A good rental house will have good relations with their competitors, and can provide you with this service, to make your life easier.

When you pick-up the gear, make sure it’s in good repair, and test it if you feel it’s appropriate. If you are traveling to a remote location, I would strongly recommend this. It’s also advisable to get back-up power packs and an extra head or two. And make sure you have extra flash-tubes and model lights. Sometimes its better to go a little over-board, and having appropriate back-up just might save your ass. When you are at the rental store, make sure you have a phone number that you can call for emergencies. Also know the store hours, in case you have to make a mad dash before closing to pick-up anything that may have been over-looked. Take a few moments to poke around the rental shop and see what else they have that you may not have known about. Grab a catalog and get to know the people that work there. Leave a few business cards behind so the people behind the counter can recommend you. Many stores will have a bulletin board also, so pin-up some of your cards there, too.

Pack your gear into your vehicle so that it travels well, but so that you can also get to frequently used items, quick and easily. It can be a real hassle if you have a lot of gear crammed tightly into a too small of a vehicle, make multiple stops, and have to constantly unpack and re-pack multiple times in one day. Things can get pretty messy after a few stops, so make sure your car or truck can handle the load, too. Some rental places have sprinter vans available for rent. This makes life very efficient on the road. I highly recommend using this service if available. Otherwise, you can always rent a regular minivan or cargo van, if your budget allows. If you use a sprinter van, the rental house will pack all your rental gear into its proper location on the van. Make special note of where everything is so that you can re-pack the gear in the correct location, and return everything in good shape. Take a few shots with your phone if you need a reference. Your rental store peeps will also be grateful and know that you are taking good care of the gear! Also, poorly packed vehicle will allow gear to get jostled around in transit, increasing the chance for damage, not to mention that annoying rattle that drives you batty!

Before you leave the rental store, stop a moment and consider everything about the shoot. Check your list to make sure you have everything–sync cords, head extensions, stands, sand bags, gaf-tape, clamps, stingers, batteries, back-up items, enough grip gear, etc. Is there anything that was left off the list? Make sure you have all the bases covered. It can be difficult to be completely prepared for everything, and inevitably, the photographer will say he had wished he had remembered to pack something. But, as the assistant, if you can minimize any of those, “Shoot! I wish I had a silver flex-fill reflector right now,” moments, by producing the reflector no sooner than it was called for, you will have gone the extra mile, and be the hero.

Take very good care of all the gear while you are working on the shoot (insert old saying about treating other people’s stuff as if it were your own here). Any damages, or excessively dirty gear, may result in additional charges upon return. Also, notice how the rental shop packs, bags, coils, and wraps everything. Be mindful to handle the gear carefully, so that it will work properly for you on the shoot, and so you are confident in returning all the gear in the same shape as it was delivered to you. Again, your rental peeps will love you all the more when they aren’t spending extra time cleaning and repairing gear that was mishandled or abused. I’ve even gone so far as wiping head cords and stingers with a wet rag as I wrap them. Little things like this will get noticed.

If you do encounter a damaged piece of camera gear, lighting, or grip, just set it aside and label with gaf-tape what the problem is. Don’t try to fix it unless it’s absolutely necessary. If it’s a crucial item, like a lens or power pack, call the shop and see if you can trouble-shoot over the phone. If you try to fix something beyond your expertise, without the rental store knowing about it, you may just end up buying that particular item if you can’t fix it, and somehow manage to make the problem worse than it was, or beyond repair. I’ve seen it happen!

Just remember that being a photo assistant is advantageous when it comes to your relationship with local camera/lighting/grip rental company. Treat them well, and they will treat you well. Many times you can get a discount on your own gear rentals or purchases. Be a resource for them, and they will be a resource for you. Many times, an out-of-town photographer will ask rental store owners and employees if they can recommend a good photo assistant. This is probably the best free advertising you will ever get.

Whether you are a photo student, a new photo assistant just hitting the bricks, or you’ve been around a while, there will be something for everyone. The photo industry has changed a lot in recent years, and assisting has also been affected. Does this impact our role as photo assistants? How do we find jobs? Should we intern first? What gear is important to know? Freelance or full-time? What do we really need to know? Where do we start?

I will be part of a diverse panel of assistants and we will address the many questions facing photo assistants in today’s photo industry. So come on out and rub elbows with all your assistant and photographer friends.

Hop on over to the ASMP-MSP site for more info. See you there!