Lessons
Class Introduction
07:49 2Evaluating Location and Set-Up with Assistant
16:59 3Editorial/Celebrity Style Shoot
06:11 4Culling Editorial/Celebrity Style Shoot
11:06 5Victoria's Portrait Journey
09:38 6Victoria's Sundance Experience
06:25 7The Power of the Portrait
07:41 8How to Connect with Your Subject
06:49Shooting a Commercial Image Part 1
15:15 10Culling the Commercial Shoot
05:10 11Marketing: Websites and Portfolios
09:01 12Social Media & Blogs
06:56 13Wardrobe and Make-Up Best Practices
06:59 14How To Work with Agents and Reps
01:39 15How To Work with Assistants
02:18 16The Importance of Being Prepared
04:18 17Shoot: Conquering Dark Tight Spaces
07:13 18Culling Dark Tight Spaces Shoot
11:19 19Portfolio Best Practices
12:01Lesson Info
How To Work with Assistants
So now I want to talk to you about having an assistant because they're the backbone of your shoot When you're on set, how many of you guys work with assistance? Two people. I think that's very telling. And I totally understand why you do. And I understand why you don't. But I'm curious. Um, well, I think else I'm gonna sort of gas. A couple reasons why the people who are here who don't work with assistance don't. The first reason I would guess is sometimes they're expensive and you don't have budgets, and that's a real thing. The second thing is that working with other people can be challenging, and sometimes it's easier to just do it yourself than have to explain it to somebody else, right? And then the third reason which was a big hang up for me when I was starting, is that I was really intimidated by the fact that it was very likely that the assistant knew more than I did, and I didn't know how to handle that. And the reason I'm bringing Tim on today is because I'm really wanna emph...
asize to you guys, if you want to take your work to the next level. At a certain point, you're going to have to start working with assistance and having that relationship and learning how to navigate. It is incredibly important not only for your work, but also if you have that skill, you will also be able to handle a producer. You'll be able to handle an art director over your shoulder. Creative director A. Really, you know, Bridezilla situation. It really it allows you to to just really have control over the team. And if your team is really great, then you can focus on the art and on the work and on the portrait. And that's what you want you want when you walk onto set. And when I walk on to set, I know that Tim has my back. He and I are working together in a very intense collaboration, and I actually hate the term photo assistant. I really dio because not only is Tim, and most of all of my assistants are terrific photographers in their own right, but he's not assisting me. He's actually my teammate that day, and what he's bringing to the set is invaluable.
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