[...]Before You Shoot for Peanuts, Consider the Risks | LIGHTING ESSENTIALS For Photographers[...]…

[...]Before You Shoot for Peanuts, Consider the Risks | LIGHTING ESSENTIALS For Photographers[...]…

There are many similarities with photographers and assistants on this issue, but in a slightly different vein. Of course, the rates that assistants are making are significantly less than that of the photographer, and sometimes less than the MUA, hair and wardrobe stylists, and even catering/craft service. And nowadays, with tighter budgets and what-not, it seems like the assistants rate it the first to be cut, or done away with entirely. Consequently, I’ve had a few photographers tell me that they are taking a hit on their day-rate in order to pay me… so won’t I please be a nice guy and consider working for less, just this once.

Over the years, I’ve accepted a few of these cut-rate jobs. I’ve also walked away from many, only to wish afterward, that I had taken it, because it seemed like forever until the phone rang for the next gig. If I do accept the gig, I’m just on-set with a shameful weariness that bogs me down, because I feel like I’m just a glorified baby-sitter or second-rate errand-boy, or whatever. A few times the photographer has called me again, saying they had another shoot with another tight budget, like the last time. I usually just say I’m already booked or tell them straight-up that I can’t work for less than my standard fee. Either way, you’re sort of screwed.

But you’re right, and I’ve talked and written about this myself. Working for anything less than your full day-rate just seems to cause nothing but bad juju, all around. I think it’s harder for an assistant to say no, however, just because they aren’t making as much money to begin with. And now, there is a lot less work. We easily justify working for less money because we’d rather stay busy rather than worry about when the phone is going to ring again for a gig. I try to tell other assistants that if they feel it’s necessary for them to take a lower rate that they also do a little bartering where maybe they can trade for some studio time or borrow equipment. I think this is especially helpful for newer assistants. It’s a little bit of a win-win.

I know one photographer who takes many newbies under his wing, teaching them a lot about his lighting, philosophy, and direction on each shoot. He won’t pay them. A lot of his work is low/no-budget music, but he needs help with gear because he has to work fast. He doesn’t mind that a new assistant doesn’t know anything. Most photographers can teach an assistant what they need to know for a specific shoot. When he needs an experienced, reliable guy, he calls me, and pays me. We understand each other. New assistants… make sure you and your photographer understand one another! It’s great to get lots of first-hand tutoring, but that can only go so far.

Just like a good photographer, a good assistant will promote himself, build good relationships, and find the right opportunities. Hard work, a good attitude, and persistence will go a long way, even today.

I own the JH books, and I read/think about CODB all the time. Do you favor a modified CODB approach, like making an adjustment to price based on regional market practices, or is the CODB completely flawed somehow? Looking forward to your next rant. I read this site as often as I do Strobist, and that’s saying alot.

I’ve always had trouble charging enough for my work – I think most of us have this same issue. To keep me honest to myself, I decided to put my rates on my website. If my phone rings, I know I’m talking to someone who has had an opportunity to see my rates. It keeps me from trying to undercut myself when times are slow or when I really want to do an assignment…