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.

Photo courtesy of Flashlight Photo Rental

Usually, when you hear the magic words, “That’s a wrap,” the assistant is eager to strike the set and get all the gear packed up. It’s probably been a long day and everyone is tired. Maybe there is an after party or a flight to catch. But, if you get any result after a strike, like the photo here, you are in too much of a hurry and not using your head. If you are a brand new assistant and it’s your first time on set, there are a few mulligans available for you. But if you’ve been around for a spell, stuff like this is kind of embarrassing… for you. The bottom line is to use some common sense. Safety and planning doesn’t end just because the shoot is over. In fact, the assistant is probably going to be one of the hardest working people on set after the strobes get powered down. Keep your cool and work smart and efficiently.

I usually start striking the set by powering down all the lighting. I will usually leave the camera and computer stuff for the photographer or digital tech, unless the photographer instructs me otherwise. They will probably be doing preliminary edits with the client anyway, so just stay out of their way. Just make sure the camera is attended to and safe from hitting the floor.

After powering down the strobes, I will pull as many power cords as possible. Just get them out of the way so you, or anyone else, can’t trip over them. Coil them properly, and stage them for packing. Coil up the head extensions and hang them on the stand. Remove any flags, V-flats, nets, and other grip that is taking up space. Just get all the cumbersome stuff off the set. Then, lower the light-stand stanchions and move all the light heads, on their stands, off to the side and out of the way. Leave the dirt on the stands, in case they get bumped. Remove power-packs, pocket-wizards, and other items and pack them away if you can.

I leave the lights off to the side while I assist everyone else–clients, photographer, props, wardrobe, set-builders, kraft. This gives the flash tubes and modeling lamps a chance to cool. If I’m not needed elsewhere, I start packing everything away, except for the lights. I will remove softboxes, umbrellas, and reflectors from the light heads, but only to pack these items away.

Once everything is ship-shape and I can do no more, then I will cap the flash tubes and pack the heads away. By this time, 20-30 minutes should have passed and the chance of melting a plastic head cap on a Profoto head should be nil. If there is any doubt, check that the modeling lamp, or base of the head itself, is cool. If not, I suggest you wait. Otherwise, just give the photographer or rental shop $20 for each cap you plan on melting, and pray that no other damage happens to the flash tube, globe, or head itself. I won’t bother to tell you the prices of Profoto flash tubes and globes… you get the point.

I know all this sounds a bit, “Well, duh!” But, obviously, shit still happens. Every situation is a bit different. Just stop a moment before the mad rush to get packed up and loaded out to make sure you are working smart. Packing your light heads last, so they have a chance to cool, is a good practice even if you are shooting lights that don’t use plastic caps or exposed hot elements. Sudden changes in temperature can cause wear and damage, just like warm air to extreme cold in winter can fog your lenses and cause condensation on electronics. Of course, this may not be an issue if you are working at the photographers studio. But if you are renting, on location, or just working with a fast production schedule, striking your sets in an efficient, practical manner will allow breathing room for you, and your gear.

Texting and driving, in MN is illegal. Here’s a news release.

Since the message that the troopers were trying to make about texting and driving was very clear to me, it got me thinking about the problems I keep hearing about, on-set, with texting and twittering and emailing. I’ve heard many photographers complaining about it and, generally, the complaint is that assistants have their noses buried in their phones way too much, while they are supposed to be working on-set, giving all their attention to the job at hand and making sure they are covering the photographer.

Personally, I’ve only had one or two occasions where this was a concern for the photographer I was working with, but then, I’m not always twittering around with my phone, especially when I’m working on a shoot. Mostly, for me, the photographers I work with just don’t want me answering calls when my attention is needed on the shoot. One photographer asks me every time when I arrive to please make sure my ringer is off, just because he is easily distracted by any unnecessary noise or commotion. I have no problem with this. In fact, when I’m focused, I don’t want any distractions either.

If I get a call, I just let it go to voice mail and I check it whenever it’s appropriate to do so, usually at lunch-time or when I make a pit-stop to the restroom. If you are worried about missing a call for confirmation on your next day’s shoot, then just let that photographer know, before-hand, that you will be on-set and may not be able to respond right away. They will usually understand and figure out a way to make it work. If you’re worried about missing a new gig opportunity, then I suspect you will just have to exercise some discipline. At any rate, make sure you know where the photographer stands on this issue so you aren’t jeopardizing your relationship with them. Better yet, just don’t use your phone when you’re on-set.

I think the real problem is when assistants are texting all the time, to just anyone and everyone–girlfriends, boyfriends, friends, and then all the twitter and facebook friends and messages. If this were eliminated, you’d know when you get an important call. So, then you might be able to ask the photographer if you can have two minutes to return the call and it won’t be a problem because he won’t have spotted you twittering all morning. And you thought you were hiding so well behind the scrim and medium-rollers. Some better ways to check your messages while busy are to take out the trash, restock the water and soda in the cooler, running to get lunch, or offering to run to the rental house to get an over-looked piece of gear. Whatever you do, just make sure you’re not making excuses to get away and check your messages. I’ve heard of an assistant who supposedly had gastro-intestinal problems and needed to use the bathroom way too frequently, and after the photographer became suspicious he was busted texting in the can when he forgot to lock the door.

My issue with this is that as an assistant, I’m trusted to be the photographer’s second pair of eyes. How can I cover the photographer’s back if I’m checking my FarmVille? I can’t. And, let’s face it, a photography set can be a very dangerous place–hot lights, glass, cords, expensive gear, light-stand legs to trip over, people running all around, and on-and-on. This is no time to be texting your girlfriend or bff about the party last night!

I did get arrested one of the nights I was working with the troopers, but, of course, it was just to illustrate the point that texting and driving is illegal. I don’t think you’ll be tossed in jail for texting while on-set, but you could very well be penalizing yourself when your resume reads “former photography assistant seeks social media consulting opportunities.”

Over the years, I’ve had the opportunity to work with many differnet animal talent–including cows, pigs, horses, goats, and other farm-related animals. I’ve also been on location with wolves, monkeys, an orangutan, and even a large, brown black bear named Balou. Working with animals like a bear or wolf can be exciting, but it can also be very stressful… for people and the animal. Pet photography is one thing. Getting a bear or an orangutan to cooperate and do what the art director needs on command is another. Animals have personalities too, and sometimes they can wake up on the wrong side of the bed, just like you and me! I have a great deal of respect for the animal trainers, handlers, and photographers I’ve worked with over the years.

The biggest thing you need to be mindful of is how your presence and actions may affect the animal. Animals can be very sensitive, especially if they are in an unfamiliar place and around a lot of unfamiliar people and equipment. Many dogs are well adjusted to being on-set after a few auditions and proper training, but Bessie the dairy cow may not be too thrilled with a bunch of people running around and flashing strobes everywhere. Animal stress is your number one concern here. If you are working in direct contact with any animal, you need to be the animals friend (if possible) and help keep them at ease. Too many sudden, frantic movements and shouting will stress out any animal, and probably the art director, too. Always heed what the animal trainer tells you, and ask them questions if you are unsure about anything.

Most animals can tell if you are a threat to them or not. Luckily, I get along very well with most animals. Be confident and friendly toward them. This disposition is always favorable when you’re on-set or on location with any animal. If you’re not a pet owner or don’t consider yourself an animal person, just try to be as pleasant as possible when you’re near them. Don’t be afraid, because all animals can smell that fear, and it puts them on alert with you. Of course, cats can be cranky and sometimes don’t like strangers at all. In these situations, just do your job and let the animal handlers do they’re job, and everything will be cool.

Don’t go out of your way, while working, to pet the animal or be overly affectionate to it. Don’t call out its name or try to get its attention, unless instructed to. If everyone on-set is doing this, the animal gets excited and confused, and the animal trainer can lose control of the animal.

Make a connection with the animal when you arrive on-set, while the animal handler is present. Usually, this will happen at some point prior to getting things under way, anyway, so that everyone has a chance to meet the animal. This way, too, the animal handler becomes aware if the animal is upset toward anyone in particular, for any reason. This is when you need to be on your best behavior and follow instructions from the handler so you know what’s going on. Granted, this may not be so critical with a border collie, but you better be paying attention if you’re working with a wolf or some other animal that can gnaw at your thigh and pull your leg from your hip-socket! No sense getting mauled like Roy Horn.

On the lighter side, yet still very important, if you have any pet allergies, take a non-drowsy antihistamine before you arrive on-set. Don’t forget, because you allergy sufferers know how miserable you will be if you don’t take something. Even if you aren’t sure how you might react to a certain animals dander, it’s better to be safe than sorry. I am very sensitive to many dogs and cats, but I can manage it with an over-the-counter allergy medicine. If I forget to take it, life sucks for me that day. It’s kind of hard to download images off a CF card, or wrangle strobe heads and power packs when you’re sneezing all day. If you can’t avoid it, at least bring your own box of tissues. I get the super-soft kind, without the lotion. That lotion stuff comes off on your hands and consequently onto camera gear and laptops. Yuck!

No matter what sort of shoot you’re working on with animals on-set, there is definitely a different etiquette, or sense of awareness you’ll need to have. If you are working on your first-ever animal shoot, just keep your eyes and ears open, and listen to the direction of the animal handlers. After a few shoots you will be more comfortable and know better how to conduct yourself around many different animals. Some of my favorite shoots have been working with animals. It’s crazy awesome to walk on-set and shake hands with an orangutan or feed a 500-pound bear gummi bears from your mouth!

When I arrived at the studio, there were about 20 dogs of all shapes and sizes in the front room–Jack Russells, Border Collies, terriers, retrievers, even some beagles. The dogs and owners were a little anxious. When I walked into the studio, everyone was happy to see me. I knew the photographer, Barbara O’Brien, from a shoot a couple years back. She also operates The Animal Connection, her normal gig for the past 20-plus years, where she has provided animal talent for photography. She told me the assistant she normally uses was unavailable that day, and decided she would try to do it all herself. Unfortunately, she got in over her head real quick. I told her not to worry, and just tell me what she needed me to do and how I can help her best. She quickly explained that the shoot that day was just a straightforward casting call for a dog, for a retail ad. The lighting was already set, so we quickly determined our process and workflow and got the first dog onto the set in about ten minutes.

Believe it, or not, this is quite common, especially these days. Budgets are tight, turnaround time is short, and photographers are trying to do everything themselves… and then all hell breaks loose. If you think this photography gig is a cake-walk, well, I got news for you. You gotta be on top of your game, ready to do anything and everything, so that when you get a call like this and the photographer asks, “How soon can you get here?,” you are ready to tackle whatever task is at hand when you walk through the studio doors and onto the set. I’ve seen things go to hell-in-a-hand-basket even when there is adequate crew and equipment. Sometimes it’s just the nature of a photo shoot. Other times, Murphy’s law comes into play or some minor catastrophe causes a delay in production. When things go sour, take it with a grain of salt, keep your cool, and be a problem-solver. That’s why the photographer called you. When you find yourself working with someone new, just as I did, ask them directly what they expect of you. Let them know if you aren’t familiar with a piece of gear or software that they’re using. Getting a quick tutorial before starting is better than when you’re in the middle of the shoot and realize that you’re in over your head. Listen to directions, communicate, and take action. Make sure everyone involved is on the same page.

In my situation, it was imperative that we got going quickly, as the dogs were being stressed and the trainers were getting impatient. Once we got the first few dogs photographed, we were up to speed and the rest of the day went pretty well. I adjusted lighting, as necessary. I kept an eye on the photographer’s camera settings, as she was moving around quite a bit, and sometimes the aperture was accidentally bumped. I downloaded CF cards into Lightroom and checked focus and made backup copies onto an external drive. I think we shot 40-50 dogs in the next three hours. We kept the dogs happy and had lots of fun with them and their owners. We even finished on time! Quite miraculous when you consider we were two hours behind schedule when I arrived at the studio! I was happy, the photographer was happy. Now, I have a new client that I can expect to get lots more work from real soon.

When I find myself working in a new studio, or on-location, I take a little time to get familiar with my surroundings. If I don’t have that time, I just remain calm, but keep my eyes and ears open extra-wide and make an extra effort to make mental notes about who, what, where, how, and why. Who is doing what? What, exactly, is my role? Where is the main power? Where’s the fire-extinguishers? What will the photographer need next? Where is the grip gear? Where is there a first-aid kit? Is the client comfortable or need anything? Where are the emergency exits? Where are the restrooms? Where is there a broom and a mop? Are there any dangerous situations around me? What can I do to make things safer? Are cords secure and taped down? Are there sand-bags on light-stands and equipment that need to be secured? Be pro-active and find what needs to be done, instead of having to be told. This will go a long way for you, especially when you walk onto a set in mid-stride and help pick-up the pieces.

When things go wrong, and they will, make a mental note of these things. As a photo assistant, ask yourself how the problems could have been avoided. Or, talk with the photographer or first assistant, after the shoot. Maybe the photographer had camera or lighting gear you were unfamiliar with. Go home and download the user manual from the manufacturer and study it. Rent a pack and a couple heads, or, ask the photographer if you can come in the following day to help clean-up a little and work with some of the unfamiliar equipment. Maybe you didn’t understand the lighting set-up. Learn more about the lighting scheme that was being used by researching online or in books at the library. Were you familiar with the digital back and software being used? Learn the capture software and the workflow techniques that were used so you can step-in if necessary. You can find almost everything you need to learn online these days. Search YouTube for videos of lighting techniques and practice on your own. Search for other blogs about lighting, gear, and software. Use magazine tear-sheets to dissect a lighting scheme. Join a local camera club or community photo center, and learn from, and teach, others.

I cannot stress enough about continued self-education. As an assistant, you should always be learning something new from every shoot you work on. This will help insure that you are ready for anything and everything. Until you can get oodles of experience, the more you know, the better you can do your job, and the more call-backs you will get.