Film sets are not all action, you’ll spend lots of time waiting around. Here’s my top 5 tips for making use of that down time. Crew Portraits – As I first discussed in TT 11, just about everyone on a film set will want some photographic record of where they have spent the majority of...
So, you’ve managed to survive your film shoot as stills photographer and you’ve delivered a bunch of amazing still images to a very happy Producer or Unit Publicist…You’re done, right? For those photographers in the big league that’s probably enough, but not for an ambitious stills photographer hungry to forge their career working on film...
Sam D is studying photography at university in the UK. He got in touch with me to assist him with a professional practice component of his course. In fact it was Sam’s e-mail that prompted me to start my series of Tech Talkarticles, so I owe Sam (and everyone else who takes the time to...
The eternal question for any me and any other stills photographer is how do I get my next job? It’s hard work. Except for maybe those at the very top of the industry, we’re always continuously working on getting our next job and keeping ourselves in the minds of our potential employers. “…it would be...
A worthwhile read here, thankyou Angus.
Mike
Do you have any advice for someone with zero connections? I live in Montana and there’s really nothing here… I don’t know where to even start… But ultimately woul love to work toward becoming a stills photographer.
Hi Brittany – I know no-one in Montana, I’m sorry.
Find your local film schools their students will make films and will be a great starting point for you. Really though, if you have zero connections, it’s time to make some. Go to the local film festivals, attend the local film collective’s meetings contact the local directors and producers whose work you admire.
I worked as a stills photographer at Shepperton Studios in the UK in the 1990’s. It was always made very clear to us that we were one step up from the guys who delivered the sandwiches!
After a short while I left and moved into advertising photography – serious money and respect!
Hi Mark, thanks for your input. I really don’t think that unit stills work is for everyone. Choosing the professional path that best suits your temperament and working style is really important. Here’s a couple of examples: I don’t enjoy photographing anyone without their active participation – so I’d be a terrible paparazzi. Similarly, I’m not a huge fan of weddings so I could never see myself pursuing wedding photography.
I’m very happy that you found the path that works best for you!
Hey,
Would you recommend approaching production companies directly form IMDB’s casting notices ?
Or does that appears too out of the blue ?
I met many great independent filmmakers thru mandy its just that none of them have the budget to hire me on books and thats what local 600 wants to see when considering me as a potential member.. so I can actually work like a real person :))
thank you for your time
Olga
http://www.olgagoworek.com
You could definitely try that. You do have to be creative when pursuing new work. Like I’ve said before… getting hired to shoot unit stills is more about who you know than what you know.
Good morning!
I live not too far from Pinewoods studio in the UK and was wandering if you knew of any still photographers who would take an apprentice with them. I am prepared to work very hard and for free just to gain the experience with a reputable still photographer….my motto in life is “if you do things, do it properly otherwise don’t do it at all”. I always wanted to Work in the film industry but Didn’t know about still photography until now. I know I can deliver great shots, (photography is what I breathe for) but I would like the guidance of an experienced still photographer to learn from him or her the correct way. Is that something possible do you think that might be achieved?
Best regards
Isabelle
Hello Isabelle, Sorry for the slow reply. Unfortunately we unit photographers rarely get the opportunity to have an assistant, trainee or apprentice with us on set. The best advice I give is to explore the opportunities for doing the work on short films and other non-professional projects where you’ll get to practice and develop your craft. You can also explore the resources I’ve written and gathered on my Tech Talk page which has lots of excellent insight about how to do and get the work. All the best. Angus
Hi there!
I work in the Romanian music video industry as a still photographer and I wonder what are my options if I want to relocate and find some projects abroad? I won’t discuss the Romanian movie industry, ’cause this is not our main topic here, but I wonder what’s your advice for my situation? If those jobs aren’t advertised, what are my options? How can I reach them?
Thanks! :)
Hi Alexandra, Thanks for your question. I can’t comment on the benefits of moving internationally other than to say that I have and it worked out well for me, but took several years to get professional traction here in the UK. If you were to relocate, I would encourage you to relocate to somewhere that has a thriving industry and you would feel comfortable networking and developing the relationships you’ll need to get regular paying work. Also, it would be sensible to consider other lines of income while you establish yourself as a photographer. I hope this helps?
Hi Angus, What a fantastic website! I love your Tech Talk. I’ve only just discovered your site.
As for getting work, I have completed just the one professional job so far and that came through networking.
Apologies if this is too much detail, but here’s how it went…
A young actor I know (not well known) was about to start work on a low-budget feature film in my local town. The film’s three leading actors are all well known TV faces in the UK. For the time being I can’t say who they are (though I will do when given the OK).
I asked the actor how the table-read had gone and if anyone had taken photographs. No photographer! I asked for the production company’s contact details and offered my services. I was in luck. One of the producers emailed me and asked if I could send over a few pictures of what I’d done previously. I’d never been on a film set before, so I sent some shots I’d taken of street musicians and of local amateur theatre productions. They were good enough to get me the job. Better still, the producer asked me what my day rate was (I was originally thinking of offering my services for free). We agreed a rate and in the end I worked on set for 10 days in total, which included them taking me on location to Spain for four days.
I quickly learned the on-set etiquette (very important). I took behind-the-scenes pics and pics of the actors ‘doing their stuff’ too. The producers were delighted with my work and readily admitted that if I hadn’t contacted them they wouldn’t have used a stills photographer at all.
I came back from the Spain shoot two weeks ago and I am still buzzing – it was one of the best experiences of my life. The producers have already pencilled me in for their next film (shooting at the end of 2017) and through my new-found colleagues (other members of the crew) I picked up another paid job.
I found taking pics of the crew at work were vitally important. They are the ones who are most likely to recommend you to others. :)
I apologise for this being a long comment, but my story proves how important networking can be. :)
Regards.
Ian
Have to thank you so much for your blog. I cannot tell you how helpful it has been. I have shot a number of student productions for theater and several video shoots but never a film production. This is a shoot with more seasoned film pros, working for fun on the 48 Hour Film Festival in Washington DC, where a short film is produced–soup to nuts- in 48 hours. I’ll be using a Nikon D7100, and have a 28-70, f2.8. a 70-200, f2.8, and a 35, f1.8. I have a prime 85 but perhaps it’s redundant. I’m expecting to go in without flash at a high ISO. No one knows subject, location or conditions until the starting “Go!” I’m going through your blog as fast as I can to fill in what holes I can, knowing that “Don’t get in the way” is #1. Any other critical stuff to flat out not forget in a situation like mine?
Thank you thank you thank you!
Slightly, late reply I’m sorry! Congratulations on your first gig! Definitely take your 85mm prime, film sets can get very dark leaving your 2.8 zooms a little slow for the lighting conditions. I hope you had fun!
I just want to say thank you for this great website. I wish I had found this resource a little earlier in my career. I started shooting set stills about 4 years ago in addition to my editorial and corporate I had worked on for 10 years. I had to figure out a lot as I went along but this website has given me some pointers. Again, thank you for this service.