Photographic Assistants

Photographic assistants are often freelance. They are called upon by photographers to assist with larger or more complex shoots.

The work undertaken can be technical, like setting up studio lighting, a spare pair of hands like holding a reflector or more essential tasks like making the tea and keeping clients happy, who are waiting for the photographer.

However some smaller local photographers also use the same job title for their receptionist, and general dogs body and print packer. So it is important to look at the job description. In some cases you will find the Photographic Assistant is receptionist, and print packer in the week and a wedding photographer at weekends, although this is less common as they are still often required to man the telephone and do the general office duties.

The rest of this page is concentrating on the photographic freelance and sometimes staff assistant, that is involved in the photography, rather then the office assistant and receptionist.

Several different types of people choose to undertake this:-

• People who have completed a college photography course are often advised to undertake the assistant role so as to get in the door, and have the opportunity to make contacts.

• People who feel they will learn more by watching another photographer than by attending a formal college course.

• Photographers starting up on their own, can find it attractive to get some work in this way to fill some time, and allow them to see more, gain contacts and more.

You will rarely meet an assistant who feels they were well paid, most look on this as much as a leaning and networking chance as an income source, however some do go on doing it for far longer then they would be likely to if it was not financially sensible.

The assistants don't have the overheads the photographer does, like advertising, studio, support facilities, often has far less equipment and not only need to earn far less to pay the bills but has a much lower risk.

Most assistants will always have the 'book' with them, this is a portfolio of their work, so they can show clients, potential clients, models, and anyone else who they can get to look. In this way more people get to know what they are capable of. So it's a stepping stone, a chance to get to meet people and often a chance to handle equipment they would not normally have access to.

There are usually more people seeking this work than opportunities, and photographers quite naturally tend to use those who they have used before and proved both pleasant to work with and very reliable.

The problem can often be to get the initial experience, and basic knowledge that makes them an asset rather than another person in the way, as well as to know what they can do to make themselves really appreciated and therefore needed again regularly.

The assistant that tends to be most appreciated is the one who can be ready one step ahead, so as the shoot progresses they have memory cards handy, towards the end they have pen, paper and business cards ready, and as they see a situation developing they think what might be needed next, and are prepared, simple things like having a reflector already in their hands, when it might be needed, or removing items that are not required out of the way, and moving to the position where they anticipate they will next be needed to perhaps adjust light, or take something, can all save time. When everything is running smoothly, on time and the photographer is not having to try to resolve problems he is able to explain more of what he is doing and allow the assistant to see first hand how the process works. It is important that they also help look after the client and anyone less familiar with the studio.

Once the photographer has confidence in the assistant then they may be involved more, and on occasions used as a second photographer to get additional material. Eventually when the photographer is too busy, or just doesn't want to take on a particular assignment they will recommend the client uses the photographer they know best, the one that has been assisting them, take on the job and contract it to them.

To be a photographic assistant you need to be completely reliable, not accident prone as expensive equipment is used, and be able to arrange your life around the opportunities that come up. At least to start, if you cannot make a time and date, they will just find another assistant who can, and call them first next time.

We tend to get three questions from would be photographic assistants

1. Do we use photographic assistants and have a need for more

2. How can we help them to get into this

3. Is it a good way to get training

Lets deal with the last one first. This depends on the photographer, the assistant, the type of work and how this all goes together. Many do find it a good way to expanding their knowledge. We don't feel its a good way to start with no knowledge at all, as the amount they could do would be so limited that they are more likely to be a dogs body than be involved in the photography very much.

How can we help them to get into this, is in many ways the easiest one to answer, we suggest they do the Hands on a Nikon course with something like to D200, and then the flash and creative lighting day, and either add a few hours on to theses selecting longer days or adding a 'short' to talk specifically about the role of a photographic assistant, and how to go about finding a role. There are websites and other means that can help you to find the photographers who will use you. The other area is by helping them to get some experience, as everyone wants people with experience.

Now lets answer the hardest question, do we use and need photographic assistants. We do very occasionally need to hire an assistant, but as we train photographers all the time finding one that has the knowledge, is not a challenge for us. We also do involve some others in a mixed role of photographic assistant and trainee, they are however not being hired by us, but swap part of their help for training, so they get far more training and hands on experience than they would if they were a regular photographic assistant.

Photographic assistant and trainee

From the above, you will see our objective is to allow a small number of people to gain a mixture of additional experience and training with assisting in the photographic trainee role.

On a practical level, a person interested completes the 2 days we have suggested above, tells us they would like to participate in this, and we keep a list of these.

We then contact them when we are going to be undertaking something that a photographic assistant could be involved in, and where we are also going to have some time to spend making sure they get a lot out of the day.

They are charged at this point one training voucher for each hour they are going to be directly involved, not the travel or other time. If they fail to turn up, they loose these and wont be used again.

They then come along as arranged, assist and learn. At the end of the day we look at how useful they were and what impact they had on the day and decide to credit them with a number of training vouchers accordingly. This could vary from hardly any to the total number they used initially, or even in exceptional cases possibly more.

In some cases, we can create situations to involve assistants, where perhaps they are not necessary or where we have arranged to undertake a particular projects or task so as to allow some to be used. In these cases they are told when being booked that this is one where the maximum credit will be 50%.

Of course before long many are going to have the experience now to find work with others and get paid for it, which opens up the opportunity to allow new participants to take part.

Over the next year we are planning a number of projects where, photographic assistants will be able to be  involved, that will also be both a greater number to have the opportunity but also a very wide range of experience and projects to develop.

Generally we, like many other photographers are not terribly excited by photographers who have been on creative fine art courses, and have an eye, that appreciates, out of focus, masterpieces that very much resemble beginners mistakes. It is far better to have a person who can produce what they want, rather than a  person who can think of an artistic label to put on whatever turns out. This also applies to portfolios, we suggest you remove all work that is technically poor, whatever the artistic merit, and only show people work that is technically good, as well as possibly having some other merit. If you have been sold the 'art' concept then produce two separate portfolios, and allow people to see that you do know how to produce technically competent work, and have the second to show your artistic vision to the few who will appreciate it.

The first stage of becoming involved is usually to undertake the two days training we recommended above, the Hands on a Nikon day course followed by the flash and creative lighting, with either time allowed on these or an extra short added specifically to look at how to become a photographic assistant. Our trainee/photographic assistant role will also be then discussed. We can issue certificates for attendance on each days training if this helps, some people like to build a book of course certificates to show what training they have had.

You could alternatively just book a 'short' and come and look at this in advance.

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