Assisting?

[Gabe]

Anyone here ever assisted a photographer at a studio, or hired assistants?

I am waiting till I get my D30 in so I can learn more about digital, but I expect that when this semester is over I will be looking for an assisting job. I want to work with someone who regularly works with models.

What's the best way to go about it? Send out resumes? Make cold calls to set up interviews? Send in my portfolio on CD?

I once read a book on assisting, and I have a pretty good idea of what my job would entail, but it was an older volume - what about in today's digital scene? What is expected of me?

How much can I expect to make at your typical small commercial studio with a steady clientele? Are most of these jobs seasonal, part-time, or full-time? Should I be thinking more like a freelancer?

If anyone has any experience, advice, suggestions, etc, please share them here. I may be going back to my fashion/glamour roots, and I think the best way to really get a feel for everything is to assist for some time, while working on my own book (it's time to update it in a major way). TIA

[Asylum Steve]

Gabe,

Working as a assistant for an established pro is probably one of the best ways to learn, not just lighting and shooting, but more importantly exactly what goes into a pro's workflow and how to run a photography business.

You ask (understandably) a lot of questions in your post. I'll try to give you the short version and still cover most of the bases...

First of all, think of a caddy for a pro golfer. Think of all he does to help, not only carrying the golfer's gear around, but also how he helps the player with club selection, setting up shots, reading the green, pulling up the flag, keeping score, etc., etc., etc.

NOW think of how much credit a caddy gets publicly for a golfer's success, and I think you have at least a small idea of the life of a photographer's assistant...

An assistant has to be a jack of all trades. Depending on the shooter and on how many assistants are being used, you would basically be responsible for the following:

- making sure all gear for a shoot is packed and transported
- making sure all gear is unloaded and set up.
- making sure all cameras are assembled, loaded, and ready for shooting
- metering the light for the photographer
- moving equipment around as the shoot dictates
- cataloguing all Polaroids or digital proofs
- making lab or camera store runs
- making coffee or lunch runs
- tearing down a set and repacking all the gear

Keep in mind a typical shoot usually has multiple looks in multiple locations. A good photographer wants to have control and a hands on approach to his work, but what he wants from an assistant is doing the more menial work of a shoot, and, equally important, catching his (the photographer's) mistakes and missteps as he works. IOW, a GRUNT with another set of eyes to double check everything as the shoot goes along...

As an assistant, you would need to have a general working knowledge of most popular cameras in the 35mm, 645, and 6x7 film formats, and in this age of digital at least the major brands of DSLRs. Some computer and digital imaging savvy would be a plus.

As for the process itself, most assistants start by interning. IOW, volunteering, at least until you learn the ropes and show you can be an asset to a photographer's team. From that point on, it's probably slave's wages until you either move up the ladder or quit and go into business for yourself.

Still, it might be worth pursuing as a career in itself, at least for a while. Top assistants in Miami Beach make upwards of $300/day, but that's only working for top photographers...

The obvious down side to assisting is that you do as much (if not more) work as the photographer, MAY get blamed when things go wrong, but NEVER get much credit for anything when everything is a success. That's life...

The tricky part of assisting is that you want to take advantage of all the networking opportunities that come your way, for instance getting to know models, stylists, and maybe even clients, but you need to do it in a very low key way so as not to look like you're siphoning off anything from the photographer you're working for...

The vast majority of asssistants in South Florida freelance. A good way to start is by calling local photographers in the area, or simply hanging out around photo shoots and at some point politely inquiring. A logical plan would be to look for shooters that DON'T currently have anyone assiting them and then offer your services.

Established assistants usually advertise by putting up flyers in local labs, laser shops, camera stores, anywhere photographers are likely to see them. Classifieds in local newspapers or trade mags sometimes work, too.

BTW, the "season" for assisting really depends on the market you're in. Unfortunately (or fortunately, depending on how you look at it), Miami is a seasonal market. Things come to a grinding halt during the summer. Other cities like NY or LA most likely have a year round market for work.

Personally, I've never had the luxury of being able to pay an assistant. When I had a studio in South Beach, I had a good friend that would always assist for me. He didn't mind doing it for free, because he was trying to learn to light and shoot as well as start his own business.

You know, I plan on spending at least some time in Miami shooting before the summer rolls aorund. If you're interested, I'd be happy to have you work with me on a shoot. I have a lot of fun when I work, and there really wouldn't be any pressure helping out. It would give you a good idea of what's involved in the process. Let me know...

Any other questions, shoot...

Anyone here ever assisted a photographer at a studio, or hired assistants?

I am waiting till I get my D30 in so I can learn more about digital, but I expect that when this semester is over I will be looking for an assisting job. I want to work with someone who regularly works with models.

What's the best way to go about it? Send out resumes? Make cold calls to set up interviews? Send in my portfolio on CD?

I once read a book on assisting, and I have a pretty good idea of what my job would entail, but it was an older volume - what about in today's digital scene? What is expected of me?

How much can I expect to make at your typical small commercial studio with a steady clientele? Are most of these jobs seasonal, part-time, or full-time? Should I be thinking more like a freelancer?

If anyone has any experience, advice, suggestions, etc, please share them here. I may be going back to my fashion/glamour roots, and I think the best way to really get a feel for everything is to assist for some time, while working on my own book (it's time to update it in a major way). TIA

[Gabe]

Thanks, Steve - your insightful reply really helped me understand all this better. I know assistants don't get too much credit, if any, but as long as I get some very useable knowledge out of the deal I'll feel like I came out on top. Ditto for low to no pay (at first), though my work/school/newspaper schedule won't leave me much time to do an internship and still make a living. I'll see what I can find and work out.

I don't know much at all about med format beyond that "general working knowledge", lol. I know a lot about 35mm and am learning digital now. I've had a little Fuji Finepix for a while now, but the D30 should be in next week. So by the time April rolls around, I should be fairly well-versed in digital as well. When I worked at the student paper at college, I shot a lot of stuff with their Canon 1n/Kodak DCS 520 body.

I just bought a book on Photoshop ("How to Use Adobe Photoshop 7" by Daniel Giordan), as I've worked with this program for years but don't know how to exploit even half of its potential. It's time I learn.

As for working with you, I'd jump at the chance. Please let me know when you plan to come down and shoot - as much in advance as possible, please, so I can ask for a day off at the Dreary Day Job if need be. Even if you can't give me too much notice, I should be able to swing it anyway - it would just be a little more difficult. My e-mail is Felis313@aol.com and the cell is 305-450-0957 (both can also be found at my site). I look forward to it!

[megan]

I've assisted a few photographers on different types of shoots, from weddings to caskets [not kidding.]

I either got the jobs from photographers I knew while working retail at a custom lab, or referrals from these photogs to other photogs on a freelance basis. However, I had friends who worked for big names like Elliott Erwitt who got their studio assistant jobs from school; they went to the career center and the jobs were listed there. However, we were lucky enough to be going to art school in NYC.

Do you have a any friends or friends of friends that are wedding photographers that you can talk to? I would recommend trying to assist them on a one-time basis for the experience, and then hopefully, you can get referrals and take it from there. And of course, resumes and the other methods you described above can work... basically, whatever gets you in the door is what will work!

One of the unfortunate consequences of digital is that the workflow, except for some final products, tends to stay in studio with the photographer, which eliminates a lot of the social contact from hanging around in labs where other photographers congregate! [Not starting a war, just a random observation based on years of experience working in a custom lab.]

Megan

[Irakly Shanidze]

I would not start with cold calls, especially if you want to work in a glamour/fashion field. Working with models is a delicate job, and all sorts of perverts try their way in. That's why I would be very cautious about hiring someone based on a cold call. Try to get references, send a letter accompanied by a CD with perhaps 10-15 shots that you consider your best work.
It is not easy to find a place these days that would need a full-time assistant. Most likely you will be put in a database and called upon for a specific job. That's why it does not hurt to try several places at the same time.

Good luck!
Irakly Shanidze
www.shanidze.com/en

[Gabe]

Megan, interesting point you raise about digital possibly reducing the potential for new contacts... I'd never thought of that. As for wedding photography... yikes! lol I don't know that I could do that, but I guess it would be good for me to do assist a few times in that field. I'm just not a wedding kinda guy I should be good at it, though, with a background in fashion and journalism.

Irakly, good point about cold calls. I'll send in a CD and resume and then do a follow-up call, I guess. Thanks for the tip.

[megan]

Megan, interesting point you raise about digital possibly reducing the potential for new contacts... I'd never thought of that. As for wedding photography... yikes! lol I don't know that I could do that, but I guess it would be good for me to do assist a few times in that field. I'm just not a wedding kinda guy .

I hear you, believe me, I don't like doing weddings... but go to any neighborhood, and you eventually pass a wedding studio that might do glamour shots as well. If you're not in or near a major metropolitan area, your chances of assisting a wedding photog are more likely than a fashion photographer! I just mentioned assisting a wedding photographer, even if it's just once because 1.> they are not hard to find, 2.> they have contacts and can refer you to other photographers in other fields if you did good, 3.> voiding #1 and #2, it's still some assisting experience that you can build off of. Hm, there's always headshot photographers out there too.

Anyway, I'll stop babbling! Good luck with whichever route you end up following!

Megan

[Asylum Steve]

...I've been going on the assumption that you're interested in working the Miami market, which is a different animal than almost anywhere else in the country.

I know the market there, so trust me when I tell you that many, if not most jobs in the fashion industry are fuled in some way by WORD OF MOUTH. All things being equal (meaning you got to have skills), the folks that can talk a good talk open more doors.

This is what I mean when I say to go and watch shoots on the beach. It really is a "bs" business, and no one takes offense if you choose to bs with them on location or on the street (or the lab or the camera store), provided (as I said before), you're not bothering them while they're trying to work.

Even with the large amount of digital work being done today, the fashion scene on South Beach is a very social one...

The same is true of making cold phone calls. It's simply a screening process, so if someone tells you to just come by, you've saved the cost of a mailing. If they tell you to send a comp or schedule an appointment to show your book, well, then you do that. People will let you know in a hurry how they like to work. If they don't want to be bothered, well they'll tell you that, too...

As for much of the traditonal networking that Megan rightfully points out is quickly disappearing, keep in mind that another benfit from the digital age is the ELECTRONIC networking that the interent allows.

In some ways this makes things easier, as listing yourself on web bulletin boards or classifieds or industry talent sites is a resource that works for you 24/7/365. Overall, this may even give you better visablity as clients or shooters in other parts of the country or the world can contact you before they ever get to town.

Regarding assisting a wedding photographer, I don't have to tell you that comparing that to a fashion shoot is like night and day. Sure, some similarities, but more different than the same. Still, it would no doubt be a worthwhile experience, as an experienced wedding shooter would have to have a professional workflow, and that you could always learn from.

Megan, interesting point you raise about digital possibly reducing the potential for new contacts... I'd never thought of that. As for wedding photography... yikes! lol I don't know that I could do that, but I guess it would be good for me to do assist a few times in that field. I'm just not a wedding kinda guy I should be good at it, though, with a background in fashion and journalism.

Irakly, good point about cold calls. I'll send in a CD and resume and then do a follow-up call, I guess. Thanks for the tip.

[Gabe]

Steve, I think I've jumped around between fields so much that about the only thing left for me to do is astrophotography (wait till I get a good 'scope, though!) and weddings, lol. So I may as well try it out, and hopefully make a few bucks in the process (I'll intern at a studio but NOT for a wedding shooter, who makes upwards of $1000 sometimes per wedding. If it's on a volunteer basis only, I'll skip on it.)

I would really want to assist at a studio somewhere in SoBe, where the more contemporary stuff is happening. I don't care to do the ol' Art Ketchum-style "glamour". So yes, I'm definitely looking at a Miami job.

Once I'm ready, I'll try a combination of e-mails (which have helped me get other things in the past) and phone calls. At least with the e-mails, I can send in a link to my portfolio without spending a dime. I'll find some real job boards for posting my services as well.

As for watching shoots on the beach and doing a little elbow-rubbing.. I live in the Gables, right by the big Colonnade hotel (remember it? On Miracle Mile..), and there have been a few times when there's a shoot going on. Maybe next time, I'll park and start chatting when the shooter's on a break.

On another note, I got my D30 in yesterday - so far, so great. It'll let me experiment a lot more with digital. I have a shoot scheduled for the end of the month, with three girls who want to do something "sexy". Perfect timing, I said, as I want to to turn my portfolio into something much sexier and edgier. We'll see what ... develops ;)