Working as a second shooter should be fun! ©Al Macphee/MiraclePR
A busy professional photographer will often need a back up photographer, a second shooter. This could be for a one-off event, to work with a specific client or for general support.
Here are my tips for making a good impression when someone is looking for a second shooter:
1. Listen to and follow instructions
Listen carefully to your briefing. Don’t talk all the way through it. You’re being tested, so if you make mistakes, or miss some of the action because you’re talking too much, you’ll never get another chance.
Make sure you follow the briefing to the letter. People have come to me that are more interested in shooting their own way. You don’t shoot ‘your way’ when you work for a client. The reason you get consistent work is by shooting to make the client happy.
The main photographer will tell you the way he wants you to shoot, because he’s been shooting for that client for several years, and that client is very happy with what he’s getting. You’re ultimately representing the main photographer, so you need to recreate the same standard as him – as near as posssible.
I once tested out sending some rich, arty lifestlye pictures of a triathlon to a long-term client. He didn’t like them. He just likes straight, colourful, press-type images. So, if you were working as a second shooter for me with this client, I would ask and expect you to produce pictures that the press would want to print: nice, bright, cheery pictures with good colour balance, pictures that leave good memories. Get your exposure right, get it right in camera and straight off, job done. A second shooter must have the urgency and consistency to create those pictures straight out of camera.
The main photographer is giving you instructions for a reason, either to test you or to suit his workflow. It’s not because he’s being difficult. If he wants you to send him a completely unedited set of pictures, it’s probably because he wants to see if you are consistent. So, you need to send them unedited, and you need to send them ASAP, because that’s another test. If your main photographer says, “I need a full set sent to me tonight,” and he still hasn’t got them by the morning, you’ve lost the race. He’s going to go to someone else.
Time is of the essence when it comes to things like that. If you’re working in the event trade, where people are expected to buy their images, they are going to want to see those images yesterday. You do an event on Saturday or Sunday, they’re uploaded on the Monday. They want to see those pictures by the Monday, maybe Tuesday. By the time it get to Wednesday, you’re pushing it. On Thursday, they’re sorting themselves out for their next event, on the next weekend. On the Friday, they may be traveling to that event, so they haven’t got the time or inclination to look at last week’s event. So, you’ve lost your sales.
2. Expect everything you say and do to be noted
When I’m testing a potential second shooter, every response they give me is noted. One person I was working with said to me, “I’m really looking forward to just putting my feet up tonight with a nice glass of wine.” Half an hour earlier, I had asked her to send me a completely unedited set to see the consistency of her work. To ease my mind, I need to know that my second shooter can consistently get those pictures. She didn’t follow through. The impression I got was that that glass of wine was more important than sending the pictures.
Most importantly, keep your word! If you’ve agreed to be a second shooter for someone for £200, don’t drop them if you get an offer for £500 from someone else (especially at the last minute!) You may or may not get more work from the big payer – but you can bet you won’t get any more work from the snapper you let down. Plus, your reputation will be shot.
3. Communicate clearly and accurately
Communication is really important in any job.
Deal with email as much as possible. If it’s written down, you have proof of what was agreed. I was once at an air show event and was talking to the local radio station – I think it was Palm FM. We went through the details, and afterwards he said, “Now, email me, and tell me what I’ve just agreed to, because I’ve got so much going on in my head, that I will forget something that I’ve promised you.” I’ve worked like that ever since. People are busy and things can get missed.
For that reason, I don’t phone people any more, I message them. That is also a test for a prospective second shooter. If they really want to be a pro photographer, they will have their phone there, ready. If it beeps, check it. If it’s somebody you’re working with that weekend, or a regular client, answer it. Don’t just leave it, because that person at the other end could be testing you. If they decide, ‘I’ll just ask them a question, and see how long it takes them to reply,’ and you don’t answer for three days, what’s he going to be thinking.
And read your texts or emails carefully before you hit send! That’s why it takes us old folk so long to text. I’ve had some seriously incomprehensible text messages from people. I just can’t make them out. I’m thinking, ‘What on Earth does that say?’
If you can’t communicate properly with me, and it’s hard for me to get an answer from you, I’m just going to get someone else in.
4. As a second shooter, don’t expect a surgeon’s rate
Don’t expect to go in on a surgeon’s rate when you’re training. If a main shooter comes to you and asks, “Have you ever done sports,” and you say, “No,” and he’s still prepared to give you a chance, set events up for you and train you up, don’t get annoyed that he’s not paying you £100 an hour. Bear in mind that that guy is a full time pro, and you’re getting the benefit of his experience. He’s doing the preparation work. He’s giving you real life experience in the field. That’s invaluable. He’s also putting his reputation on the line. So, you’re never going to go out at the same rate as somebody who’s got 35 years’ experience in front of them.
If you’re offered a rate, you’ve got to take the rough with the smooth. If you’re told that fuel and subsistence isn’t included, you’ll have to cover it (it’s tax deductible if you’re self-employed, anyway). If you don’t feel it’s worth you doing, you just say, “Sorry, I’m already booked,” or whatever.
5. Do your research
Make sure you know where you are going. Don’t rely completely on Google Maps or your SatNav, because if you turn up late, the main photographer won’t be able to give you a proper briefing. If you’re not sure about the details of the event, ask! While on the subject of asking questions, avoid asking questions you should already know the answer to. For example, if you are shooting a sports event, research your shutter speeds, etc. The main photographer won’t be expecting to waste time teaching you the basics.
6. Have fun as a second shooter
While you want to show your professionalism to the photographer you are working with, that doesn’t mean you should avoid smiling and laughing. By allowing yourself to have a little bit of fun, you will take the pressure off yourself and the photographer is more likely to want to work with you again. Besides, relaxing your subject is often part of a professional’s job, and having fun yourself is a great way to achieve that.
Have a burning photography question you would like Al to write about in his next blog post? Email info@miraclepr.com with your request.