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All photographers hopefully learn early on is that every subject is di erent: di erent looking, with a di erent personality and di erent energy. The perfect way to direct one person might be a disaster with another. The small beauty dish that looks beautiful on a 16-year old model with near-perfect skin and perfect makeup over that perfect skin (not to mention the retouching to follow) might look just terrible on a 45-year-old executive. Thus, the main bit of advice I can o er, if you don t know it already, is to never forget that every person is di erent and needs individual attention and interaction. This might be less true with models, where the particular shoot is about locking a pose and not really expressing in the face. But I d bet that, even in that case, one person needs
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to be handled di erently than another. It s just how it is. And great models often choose their own poses and expressions, and are artists in their own right. My work more often entails photographing real people, such as non-actors and nonmodels. This adds a major challenge in that these people are usually not naturally comfortable in front of the camera. It also means that, more often than not, their value to their life and work is not based upon their looks, and so they might be trickier to light and photograph properly. However, these same subjects often o er a wonderful opportunity: if you can get them warmed up and comfortable in front of the camera, you have the chance to achieve more natural and uncanned moments than with talent that is trained and media-savvy. Once again, it depends on the individual. I try to always be welcoming and function as a host as well as photographer. I like to chat a bit and make some connection to get a feel for a person. I m also studying their face at this time to see how it expresses. Once photography begins, my actions and energy totally depend on the individual: Do they like a lot of direction and energy tossed their way Or are they more e ective if we keep things quiet and soft in energy All this a ects the pose. No one, whether real person or professional talent, wants to experience the photographer or crew freaking out. At least, I ve never seen it help. As a life-long practice, when something stops working, I have the choice to remain calm and nd a quick solution, or to tense up and transmit that fear of being in trouble. I unfortunately cannot say my record is 100 percent at doing this well, but I keep trying. In any situation where troubleshooting is needed, it s extremely worthwhile for you, the assistant, or tech, to have a logical, smart, and fast troubleshooting approach to know from research and past experience what the most likely and simple solution is and to take it from there. Often if tethered to a computer, a restart is all that s needed. Sometimes parameter RAM needs to reset, sometimes disk permissions rebuilt, or a cable switched out. The photographer doesn t necessarily need to know how to do these things, but, trust me, someone on your shoot better know how! When money s on the table, whatever can go wrong often will.
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A lighting skill that takes nothing but time and practice to learn is knowing what lighting will work with which subjects, and, of course, with the feel you re going after for a particular assignment. Many advertising photographers who photograph people end up with a lighting style that they try to adhere to; after all, it s part of their visual brand. Even in this case, I m sure adjustments are always being made to accommodate the particular individual in front of the lens. I once worked as the Lighting Director for a famous lmmaking team. Sometimes we d shoot testimonial commercials when we might lm 50 people a day. And not knowing who would make it into the nal edit, everyone had to look good. It was a major learning experience for me, as I d light the rst person, and for the sake of argument, let s say they looked fantastic. The next person would come in and the light would look terrible on
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