Gaff Tape Dispenser for Your Grip Kit from A Photo Assistant on Vimeo.

Many freelance photo assistants may have one to five photographers who they always work with, almost exclusively. If you’re not there yet, no worries, you will get there. Lately, I’ve been working, a lot, out of town. Traveling, and just being generally busy, will easily complicate your schedule and make it difficult to always be available to the main core of photographers you work with. It’d be great if everyone was so busy that we could just book 3-5 days each week with the same photographer, but let’s face it, that’s probably not gonna happen–unless you are a full-time studio assistant. A good gig if you can get it, but that’s whole different topic for another time.

If you have some A1 photographer clients who always call you first, take some time to talk with them about your relationship with them when it comes to being unavailable due to scheduling conflicts. Find out what’s important to them in these situations and if there is anything special you can do. If they are adamant about working with you exclusively, let them know that you appreciate their loyalty to you, but you need to seek work with other shooters to fill in the open slots between their gigs. Suggest to them that they get an intern from a local college to help them out when you’re unavailable. Your should also have your own list of other assistant’s that you can recommend to fill in for you. Make it easy for the photographer to fill your shoes with good help and you will continue to get work from them, even if you’re unavailable from time-to-time. They will appreciate that you are looking out for them, even when you can’t be there.

Sometimes a photographer will put you on HOLD for a future date(s), until they get confirmation about the projected dates, locations, or other logistics, from their client. When this happens, you can usually expect a call from another photographer to book you for the same day. Usually, this is a simple hurdle to jump, as long as the second gig is nailed down and firm. Tell them you are on hold for that date, but will call the other photographer and see if they will release you. Also, if it seems probable that you will end up booking the shoot with the second photographer, explain to them that if their job should be cancelled or postponed, that you will need to bill them a kill fee, since you are about to let go of another opportunity, to assist them. Most photographers will understand this. But, always get this out in the open right away, before you accept the gig. If they are resistant to this proposal, you can kindly let them know that you are doing them a favor by rearranging your schedule to be available for them. If they are still not accepting of your terms, you can either drop it without making any further fuss, or, keep the first job before being released. Every situation and personality is different, so, use your best judgement. If your terms are met, you can then call the first photographer who put you on hold, and tell them that you have a solid gig for the date, then ask them if they want to either confirm their date, or release you. Always give the hold photographer the opportunity to lock you in before you tell the second photographer you will accept their job. If  you are released by the first photographer from the hold, ask them if you can help find another assistant for them. Always go the extra mile, no matter what.

Another twist on the hold scenario may come up involving half-days. Just last week I was booked firm for a shoot this Wednesday, but the photographer wasn’t sure if it was going to be a half-day or a full-day, as she was still waiting for the shot list to be finalized by the client (this is also referred to being ICED). Sure enough, I got an email from another shooter, wondering if I was available for a half-day, but in the evening hours, something like 5-9PM. Now, it’s NEVER a good idea to double-book half-days on the same day, but I thought I would at least check out the possibility, since the second gig would be in the evening. I called the first photographer and explained that I had a firm half-day to book in the evening, but needed to know her schedule and call time to determine if I could actually book it. She emailed me back saying that she was maybe 85-percent sure that it would be a full-day, but couldn’t confirm any times. So, I had to relinquish the evening shoot since I couldn’t be sure if and when I could show up. Now, if you’ve been around, even for a little while, you know things can easily go wrong on-set and schedules will fly right out the window in order to get things done to the clients specs. If you have to leave the set because of your schedule, even if you’re working overtime, I guarantee that you will not get a call back from the photographer you left hanging. So, as a general rule, NEVER double-book half-days on the same day, even if the call-times and schedules are firm. Something will go bad, schedules will change, and you will probably end up losing both these relationships, even after the dust settles. This is one of the main reasons why your half-day rate should be 60-70-percent of your full-day rate, so you can still make a fair day’s wage without compromising your livelihood.

As I mentioned earlier, whenever you can’t be available for a photographer, ask them if you can help them find another assistant. If you’re at the top of their list, they will respect, appreciate, and even perhaps expect your input. This will help insure you will still get the first call for the next shoot, no matter who they used. Just make sure that any other assistant that you refer is a good fit for the photographer. Don’t recommend anyone you don’t know personally or haven’t worked with, since your reputation may be on the line. So, when you are working with other assistants, make sure you get biz cards and contact info from assistants who are hard workers with a good attitude–photo assistants who have a similar work ethic as you. This is a great way to build rapport with other assistants and have them refer you, too! If the photographer wants to find their own assistant, remind them to check out photocrew and ASMP and APA.

Along with assisting, I put in some time studio-managing and also help out part-time at a local lighting and grip rental shop. Doing work like painting cycloramas and other maintenance, delivering lighting gear, and checking inventory are all in addition to the photo assisting work I do. Many times I cannot be available for this work, as I put my assisting first. But, when things slow down on the assisting front, this work is golden. Don’t be afraid to stretch your wings and make yourself available to other opportunities which can help you gain even more experience. If you can find some of these opportunities, I think you will find that they can be very flexible, if you don’t mind working some odd hours every now and then.

These circumstances, of course, are situational, and by no means are meant to be dealt with without some degree of flexibility on the part of the assistant. We are a service-oriented industry, and care must be taken to develop and build good relationships with photographers, other assistants, and other photo crew. Being of service to your photographers and keeping everyone happy is very challenging when you are tied-up on other shoots. You can’t be everything to everyone… but you have to try. I only share what has worked, or not worked, for me, based on my experience. Keep in mind that my methods may not work for you. But, if you consider the experience of other assistants and photographers as a starting point, use your best judgment, and be fair in your assessment of your situation, your work ethic will go a long way to help you build solid relationships with your colleagues.

Zack Arias is in Seattle to do his creativeLive workshop. Definitely, check it out. The price won’t be an issue, guaranteed!

Chase and Zack gave a great share, after a few audio problems were squared away, and their candid, genuine banter was just two friends talking shop. They answered many questions, one of which I posed to them, asking if they felt that photo assistants needed to do anything differently to succeed as an assistant in today’s economy and changing digital landscape. They both chimed in wholeheartedly, stating that it all boils down to attitude and persistence to get the good gigs that everyone is seeking. They both gave personal examples of how members of their current staff made themselves available in an honest and personable way that could not be ignored. Zack’s studio manager was even turned down twice by Zack before his persistence landed him the job. Great stuff!

Many other questions dealt with photographers finding work, building relationships, creative inspiration, photography school vs. no school… everything from both Chase and Zack’s personal and professional experience. It was a great talk, just like I was right there chatting it up with them. Good times!

I dug up the video that Zack produced the winter before last, as a guest blogger for Scott Kelby’s blog. I thought it was appropriate for any shooters who are having any doubts about their abilities as a photographer.

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.”

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.