Heavy Bags #3

HEAVY BAGS #3
Getting Lessoned Up
by: Pat Bagley

Warning: veteran photogs might read this post and be like “Yeah, d’uh, chump!” But after helping Tim with a gnarly shoot in Yosemite, I picked up more tips than Jessica Simpson could grab with a Swiffer. Here’s five notes about what I think makes a good photographer, and five more about being a good assistant:

Fives towards Photography

1) Video + Stills. Is video the new black? Before driving to Yosemite, Tim told me that one of his main clients now asks for 60% video content, 40% stills. It blows my mind how today’s DSLR’s make it seamless to execute both mediums with one camera body. And do both really well! We shot a Canon 5D. Geek-out sesh upon request.

2) Direct the Subject. Okay. This one should make all photographers slap their forehead and say “no shit, so what!” Yet, to a shy writer/photo-noob, I was surprised to see Tim direct his models as much as I would manipulate a keyboard. Whether the model was climbing ropeless 2,000 feet above the ground or making pasta on a camp-stove (both went down, standby for sample shots), Tim confidently told the model exactly how to move for the camera. To the un-indoctrinated, it sounds like you’re turning a human into a puppet, but remember: photographer take—and make—good images.

3) Be Ready. Another “d’uh” observation, but get this: models appreciate competent photographers. At one point in the shoot, an amateur videographer asked he if could join our team and shoot our model for personal use. “Sure,” everyone said, but when the guy dropped his white-balance cards off the top of a cliff and delayed everyone, the model confided to me that he really appreciates how fast Tim sets up.

4) Solve YOUR Problems. There is always a physical problem while translating our mental image into a captured photograph. That is why innovation is so important to photography. The aforementioned videoguy taught me a lesson by using home-made stilts to push himself away from the cliff face in order to gain a unique perspective while shooting above a climber-subject’s head.

5) K.I.S.S. Keeping it simple is one way to stay fast and compentent. Sure, balancing 101 raw eggs upright on the spring equinox could be a cool backdrop for an interview, but maybe a simple sunset would be just as good and way easier. Besides, keeping the model in good spirits definitely seems to translate into shoots with good vibes as well.

Five about Photo Assisting

1) Sweat the Small Stuff. Photographers have a lot of “big picture” thoughts. A good assistant should be able to identify the nagging loose-ends and take care of them. You’ll be asked “where’s my ND filter? The spare batteries? My Coke?” Make sure you have the right answer for these questions. Anticipate needs.

2) Don’t Sweat the Small Stuff. Be more like a willow tree than an Oak. If a model ganks one of your Clif Bars, don’t worry about it. You can replace it later; besides, if you were really good, you would have packed extra bars in the first place.

3) Hustle. If a photographer hired you an assistant, they probably busted their ass to earn the dinero to spend on you. Never let them forget that you are worth that money. Be proactive. Half-stepping is unacceptable.

4) Busy Hands, Still Mouth. To put it diplomatically, photo assistants are certainly NOT required to offer their creative ideas to a photographer on set. In other words, being able to work with your mouth shut is an asset. If you must say something to your photographer (i.e. you’re the only one that notices the model’s hair is messed up), do it unobtrusively.

5) Learn from Osmosis. You can learn a ton by assisting; in fact, you’re expected to. Never be told to do something twice. Also, keep your eyes open wide; remember that some people pay to learn the lessons you receive!

This entry was posted on Tuesday, July 7th, 2009 at 1:37 pm and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed.