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Assisting 101
A presentation given by Brian Fagnani to the St. Louis chapter of ASMP on March 5, 2008.
Getting Started
Do your research.
Create a list of all commercial photographers in your area
- ASMP FindAPhotographer
- Blackbook
- Workbook
- Local magazinesHave a resume and portfolio.
The Interview
Bring your portfolio and resume. The resume should highlight your equipment experience.
Have business cards made with your email and telephone number.
Discuss day rate.
Ask questions.
Studio Etiquette
Do not be a distraction between the client and the photographer.
Make sure the strobes are firing.
Clean and secure the area around the set.
If you break something, tell the photographer.
If the equipment fails, stay calm.
For product shoots, do not reach over the set.
The First Job
When a photographer calls to book you, here are several things to discuss:
- Date of shoot
- When and where to meet
- What the shoot is
- Your day rate
- Dress code
Arrive early. (If you are running late, be sure to call the photographer.) Try to anticipate the photographer’s needs. Work hard.
Things to bring to the shoot:
- Leatherman
- Pen and notepad for yourself
- Construction gloves
- Extra pair of clothes
Day Rate
In the St. Louis area, the prevailing rate seems to be:
| Full Day, up to 10 hours: | $150+ |
| Half Day, up to 4 hours: | $100+ |
| Overtime, over 10 hours: | Time and a half |
| Travel time | Negotiated |
‘Icing’ is the same as being put on hold.
What photographers look for
Bill Sawalich — Barlow Production
How do you get on the photo assistant list?
For me, an email is the best way. Simply state your intentions (“I’m looking to learn by assisting” etc.) and show me some samples of your work. That way I have a good idea of what your skills are, and know how best to utilize them. (And as you can attest, getting a face-to- face meeting, getting the ball rolling yourself, also helps. If I can tell you really want to learn, you’ll be around.)
How do you go from being on the list to working with the studio?
That’s probably like the last part of my first answer: make yourself seen. If you’re “around” without being in my face, I’m bound to work with you. It’s all about getting your foot in the door, so if you need to “volunteer” (i.e., intern) or something, even on a shoot or two, it’ll get you known. And once you’re known, it’s easy to call you.
What do you expect when working with a new assistant?
Really, all I need is reliability. If you say you’ll be here at 10, be here at 9:55. Don’t be late, and don’t make me work to work with you. If you’ve never assisted before, that’s okay — as long as I know that up front, and as long as you demonstrate that you actually want to learn. And if you’re an expert, let me know that too. But either way, just be here when you’re supposed to be. Reliability goes a long way.
Does background (school) or skill level matter?
It would be nice to have an assistant who was expert in all sorts of things, but I certainly don’t mind working with people who are learning. That’s sort of what I expect. So as long as you’re serious about wanting to learn and to work, then it doesn’t matter to me whether you know a little or a lot when you start. You’ll learn. It’s not rocket science.
What makes a good assistant?
Making the photographer’s job easier. Don’t be late, be early. Don’t distract from the shoot, add to it. Don’t be in the way, be always keeping things from getting in the way. All I want is someone who HELPS me get my job done — whatever that means. If you’re a lighting expert or a newbie doesn’t matter. Just make something easier for me.
Stefan Hester
How do you get on your photo assistant list?
Call or email…. more than once. Have a portfolio of your work to show.
How do you go from being on the list to working with the studio?
Timing and consistency
What do you expect when working with a new assistant?
To be eager to learn. I assume that I will have to school them on many points, so ultimately it’s worse if someone can’t ask questions when they need to. Listening and paying attention are bigger pluses than knowing how to handle all of the equipment.
Does background (school) or skill level matter?
Skill level certainly helps, but its hard to determine before you actually get into a shoot.
What makes a good assistant?
A good assistant is someone whom you choose to call first. You call them first because they have now learned to do things before you say to do them, because they have learned why we do what we do. A good assistant is assisting everybody in town and is hard to book. And because of this, they come back to you every time with new skills, to where eventually the best assistants will be able to offer you advice, becoming an asset in bettering your game.
Jack Rinehart — Photosource
How do you get on the photo assistant list?
I think that being an ASMP member and networking while still in school will better one entering the assisting arena. Consistent delivery of your message of wanting to work is key.
How do you go from being on the list to working with the studio?
Finding the right mix of talent, the assistant and the photographer or studio is important. Again, being there even when there isn’t a need, delivering your message as one truly desiring to work and learn.
What do you expect when working with a new assistant?
Some of the keys: always doing something even when not being on set, staying one step ahead of the crew or photographer, timeliness, using your head when talking to or with the clients, learning the staff’s nuances, having good computer and app knowledge, use of equipment and rigging and setting up equipment….
Does background (school) or skill level matter?
Yes, especially the working knowledge of Phase and Sinar apps, lighting equipment, etc. The need for schooling only verifies the desire to further one’s passion.
What makes a good assistant?
See all of the above.