No matter who you’re assisting there are several core fundamentals that every lighting assistant can bring to each shoot that will make them invaluable asset on set and will keep getting them hired. In this article I will focus on assisting a portrait and lifestyle photographer, but everything below will apply to any type of assistant. So let’s jump into it.
1. Ask Questions
The concept here is pretty simple. Going into each shoot you are completely blind to what is going on and you need to ask the right questions to best serve the photographer and to get compensated appropriately for your time.
Pre-production
What’s the day rate for the assistant? (If you have not established a day rate)
Is there a call sheet?
How will payroll be handled?
Is there a creative deck, mood board, shotlist?
Is there a scout/ pre-light day?
On Set
Where is base camp?
What type of light set up are we creating?
What lights and modifiers will we need?
If shooting multiple scenes, can I start setting up for the next scene?
What do you or don’t you want in the scene?
Are we wrapped? Can we break down?
Can I grab you a snack?
Do you want an apple box to sit on?
Do you want to light meter this?
Do you want to color card this?
Being preemptive by asking the right questions shows you are attentive and trying to be a problem solver so that production can continue to run smoothly. You can’t read minds and you never want to make assumptions. So use your intuition and always keep asking ‘Whats next?”. So many times I, as the photographer, am juggling multiple relationships on set between production crew, talent, client, and agency while also simultaneously setting up the next scene. So make sure ask what needs to be taken off my plate.
2. Be On Time & Bring a Positive Attitude
There’s no better or easier way to set a precedent with the photographer than showing up to set on time. And by on time, I mean at least 15 min early. It requires no skill, expertise, or strenuous effort, but can make all the difference. You are the photographers right hand man (or woman), so they need to be able to trust you to the fullest. The photographer typically has a million things to juggle while on set . So, don’t add to it by being late.
As for the attitude, bring a positive attitude on set. It will be noticed and can be infectious. I understand we all have problems going on in life and can have off days, but leave that all at home. Take this moment to appreciate your on set helping create and not stuck in a cubicle draining your life away.
3. Become a Second Set of Eyes
Whether you’re on set for a portrait or lifestyle photo shoot, you need to learn think as though you are the photographer. Obviously, you aren’t shooting and directing talent, but everything else to create the photographers ‘look’ needs to be on your mind. Do they like contrasty/ moody light, poppy bright light, natural light, etc.? It’s your job to scan the scene and start to get stands/modifiers/lights generally in place so the first couple test shots can be fired off and keep things rolling. Additionally, take notice to what is physically on set for lifestyle and environmental portrait shoots. Is there certain furniture, decorations, practical lighting they want to incorporate? For me personally, less is more. So make sure to look out for clutter. Chords, useless appliances, ugly garbage cans, cluttered counter tops, etc. make sure to check with the set designer or photographer that none of it is distraction in the scene. Also keep an eye out dirty mirrors/windows and safety hazards like power chords (get those taped down).
4. Study Light
The most important aspect of photography? Light. Photography is the process of capturing light. You can direct and create the most authentic emotion out of your talent, but without properly lighting a scene you’ll undermine it all. So what do I recommend? Study all forms of lighting and the type of gear required to create it. Below are some of my favorite videos about lighting.
For lighting portraits here is a video by Chris Knight that walks you through just about every type of lighting you can create using strobes while also going through a wide variety of modifiers. Speaking of modifiers, here is a great video by Matt Porwoll going through variety of diffusion and bounce modifiers compared side by side to show the differences. While he is using continuous lighting, the idea still applies for strobes.
Bonus Tip: Check out this video by Rob Eliis explaining “cove lighting” made popular by Roger Deakins. I bring this up because I see many amateur photographers struggle with the concept of “wrapping light” around their subject. While there are many ways to achieve this cinematic look, I find myself utilizing modified versions of this concept while shooting on location quite often. I like subtle fall off of light that is flattering with all skin tones/ textures while keeping a natural look throughout the scene.
5. Know Your Gear
As the sang goes, there’s more than one way to skin a cat. Same applies for photography. There are dozens of lighting brands out there for both continuous lighting as well as traditional strobes. I would say the brands you will see most often will be profoto, broncolor , godox, and flashpoint when it comes to strobes. As for continuous it will be Aputure, Arri, Amaran, and Kino Flo. Generally they all work relatively similar, but the idea here is get to know them in out. This includes the lights, the power they require, and the mounts/modifiers that accompany each. There are a million youtube tutorials and the access to rent a lot of this is pretty manageable.
Lights are only a half the equation. Let’s not forget about grip. This includes all your stands, flags, diffusion, bounce boards, clamps, boom arms, and everything else that is used to secure and control light on set. Here is a great long format video by Jake Stagel that walks you through all of it.
6. Dress for the Job
Light assisting is a labor intensive job that could require someone to lift 50 to 100lbs at any one time across the span of 10+ hour day. So make sure to dress appropriately. That means comfortable, supportive shoes are a must. Clothes that are durable and appropriate for the occasion. If it’s a corporate shoot at a law office for instance, please don’t show up in a ripped up shirt and crocs. As for woman, skirts or dresses are a no go. They may look nice, but they are just not practical and could potential snag causing an unsafe scenario.
7. The Dont’s
While I have listed a bunch of things to do to become a great assistant. There are a lot of things NOT to do that can be just as important.
- Don’t show your work or poach clients on or off set
- Don’t be distracted by your phone
- Don’t take photos and share on social if instructed by the production crew, client, or agency
- Don’t make assumptions
- Don’t be a creep on set (especially if talent is nude at any point)
- Read the room and make your best judgement about bringing up politics, religion, sex, or other sensitive topics.
8. Bonus: Build a Kit
While I don’t expect any of my assistants to have a kit, it is very appreciated and really shows you’re a true pro. Below is a list of things I’ve seen assistants bring on set with them. Typically in backpack, crossbody bag, or utility belt
Box cutter or knife
Utility tool
Screw driver (flat head & phillips)
Scissors
Sewing kit
Variety of A-clamps
Gaffers tape
Masking tape
Pro Pocket Spike Stack
Pen, Pencil, or sharpie
Mechanic/ Work Gloves
Notebook
Measuring tape
