Last weekend I was tagging along with Carl Smith assisting him on a shoot with Alex at the Rochester Incinerator.
I had fun helping Carl out with the lights or reflector and helping Alex in between shots. Being the light and coat guy isn’t as fun as being the shooter, but it has its benefits.
Being at a photo shoot and not having the responsibility of being the primary shooter is helpful to developing shooting workflow, light placement technique and looking at alternative ways of shooting. It also helps you develop a good dose of “shut the heck up”. When someone else is shooting and you see something that you would or would not do, have respect for your fellow shooter and don’t blurt it out. Take an aside with the photographer and mention it. That’s all! Don’t get hurt if they choose not to use your suggestion. You don’t usually know what the other photographer is thinking unless you are collaborating on a project.
I would mention something quietly to Carl when I had the opportunity, but there were times when I did blurt something out during the shoot. Carl would be grateful that I caught a potential problem, but when it comes to creative issues make sure you know who’s running the show. If it’s not you, then understand your place in the pecking order. I had to shush myself on more than one occasion after seeing a potential shot or pose. I had to give the shooter the space to find their shot and not be pressured or undermined by my “creativity” creeping into their shot. When I was asked about a set up or lighting situation, I provided my input. And I was grateful that they asked. I think that some photographers are good enough that the last thing they need is my input, but I appreciate being asked!
I did get an opportunity to work with Alex when Carl was done shooting. She was a joy to work with, an adventurous model who is willing to try what she can to get the shot. Since this was our initial meeting, I really didn’t have an agenda. It was a new location and a I wasn’t sure how much time we had. I scouted a couple of locations within the complex and my favorite spot was the large windows and a small alcove with natural light coming through a hole in the roof. I had Carl help me with the flash in the window shots. I had actually warmed up the light with a colored gel so that the natural light would go toward the blue side. In the alcove I had no flash, it was all natural light, and forced the scene to go blue in the camera.
I look forward to working with Alex again.
Click on any of the pictures to see the larger images.
