Whether you’ve arrived here through my social media platforms, we met face to face or searched interesting google terms to arrive HERE (very interesting). I hope you get an insight into the commercial photography world and the work I do as an Assistant Photographer. At the end of each shoot, we hand over the highest standard of imagery using the latest technologies such as Capture One 20, Profoto and Hasselblad as well as other equipment and software which help us deliver the widest variety of photographic work to our clients.
Clients include Photographers: Suki Dhanda, Simon Lipman, Jenny Hands, Roger Keller for clients like The Guardian, The Observer Review, The Gentlemens Journal and The British Hair Awards
In each post, you’ll see projects I’ve worked on with various photographers in the industry. Spanning from still life to photojournalism. As an assistant with the aim of building a professional body of work myself, it’s important to me to have a wide knowledge of how photographers work and deal with various issues I expect to face in the future.
Feel free to contact us for:
Assistant hire, capabilities and budget.
Recommendations for collaborations, eg. Stylists, makeup artists, producers as well as Photographers and videographers.
Recommendations for equipment and where to get them,
More on our service and the support you require for creative projects
And or just to talk about the industry because I know it can be a lonely place out there in the freelance world.
I had the pleasure of meeting Candice alongside Suki in the Guardian’s studios in Kings Cross. Suki was adamant on picking a colourama which suited Candice’s outfit. As an Assistant, this meant that this colourama change had to be done quickly and once the talent arrived. Safety regulations have to be considered and communication with the photographer will be reduced so preparing the space beforehand and getting as much creative direction from the photographer you can beforehand the talents arrival ensures smoother operation.
A lot of being a Photographer is talking with the stylist, producers, interviewers and indeed the talent to achieve the shots they want. As much as this sounds complicated, at the end of the day, you have a person in front of you, authentically themselves and essentially all you need. If you were on a still life shoot things would work a bit differently, the stylist and set designer take more precedent because they would have to bring and style something authentic, in this case with a model you dont have worry about that. Everything, is timing, a keen focus and trusting in your assistant. On this day, Candice asked to wear a grey hooded tracksuit instead of the blue option shes wearing to resonate with her young readers. Suki tested this and it was only after reviewing the tests did she explain that visually it would be as effective be as effective compared to the other items of clothing she brought with her, like the blue.
If there’s one thing I have learnt from Suki, it’s to be decisive and communicative. Believing your creative decisions and not second guessing yourself or others can not only bring you great pictures but also nab you fans and future clients. Believe in your talent and don’t be afraid to explore outside the box. A lot of the time the trodden path is also true to its word, and there’s nothing wrong with trusting in the people that came before you also. So either way, dont worry and let the moment happen.
When shooting Alisa was entirely in her element, focussed on directing and her Canon MkIII. If I get the oppurtunity to assist her again I will be looking forward to gaining even more insight into troubleshooting and understanding feedback from different sources.
Alisa’s experience has produced a highly professional and inspirational professional. Working with her was so smooth, every issue was quickly solved. As a person who has only been in the industry for 2 years, it was truly an inspiration to see her talk and reflect with the Suqqu team over the shots and guiding her assistants (including myself) on how to get there. She allowed us to make mistakes, gave us feedback and allowed us to work it out ourselves. As a mother of a two-year-old she seemed to let the stress glide straight off her back, seeing the humour and best in everyone.
As a Digital Operator it’s my job to ensure several things:
1. Communicate and understand the brief. Talk with the art director and the photographer ensuring they are achieving what they set out to do as a team.
2. Ensure the images are technically sound as they come through. Act as the photographer’s second eyes and flag any adjustments that need to be made to the photographer. My job is to find out what is going on, why and attempt to fix the issue as quickly as possible.
3. Ensure the handover of the files to both the photographer and or the client is to brief and if there isn’t a brief then as clear as possible.
4. Be a good team player, support one another and respect everyone’s different roles, ask for help and give help in return. You only have a certain amount of time to get the job done and you only have these specially picked people to get it done. It’s important to create a positive culture.
Thank you to everyone, especially Alisa for bringing me along that day! It was amazing!
“A hit on the festival circuit, Rocks is the latest movie from director Sarah Gavron. Made with a mostly young, non-professional cast, it’s a vibrant portrait of loving female friendship and contemporary London life”
Cornershop front man Thinder Singh with band member Ben Ayres at an abandoned petrol station in Wolverhampton (near Singh’s old home). This was an eye-opening day, holding her Profoto B10’s in gusty wind and working closer than ever on the editing process on the train journey back, I learn a lot from her each time I work for her. On this occasion, it was:
Keep a location reference archive. A list of locations which detail what, where and how to get there. Picture references are also useful. When a location inspires you to do further work it is your natural instinct to try and remember it for future reference. By keeping a record of these locations you give yourself the chance to make the most of them. Being a fountain of knowledge and fresh ideas in the creative industry can also be what another creative needs and can only make you more valueable.
2. Always pack kit which allows for a change of creative direction. This is an important one. By bringing additional kit beyond your inital plan you are allowing yourself flexibility to think on your feet when the time comes. Without the yellow and green gels Suki brought this day, this shoot wouldn’t have the same feel.
3. Don’t be afraid to ask for help from your colleagues. As long as you communicate what you want to do most people are willing to help you get there. The shoot would have been a hazardous place if we didn’t receive help from the interviewer Jude Rogers and band member Ben Ayres for holding Suki’s kit against the wind whilst I was holding the lights.
You’d better make damn sure as an Assistant that you’re fit and healthy. This applies for any role you undertake however in this one particularly, don’t doubt you’re going to be put in situations which will test your strength and trust in your team. On this day, I was hand holding a reasonably heavy light over the heads of the talent throughout Suki’s shoot. Our stands and grips weren’t suitable enough to hold it at the desired angle. I’m not saying I wasn’t able to do it, I had the muscle, just not gloves! My hands kept slipping on the pole and constantly needed readjusting. Note to self: buy grip gloves.
One of my first shoots assisting and it was for one of the most high profile photographers I have worked with yet. Photographer and Director Jenny Hands is inspired by the magic she sees in everyone. Capturing the beauty from all sides of life from joy to sadness and all emotions in between. This universal language of soul and connection is her aesthetic.
Coming straight out of Studio Assisting at Loft Studios, West London. I was given the chance to assist alongside friend and colleague James Whitty. It was from this shoot I went on to learn so much about proper form and etiquette on set. A skill that is invaluable in any role. It’s best to stay calm, not to get too distracted or overwhelmed. Take a moment to breathe and hold your set firmly. The Photographer will be busy focussing on the creative, on her composition and communications with the clients and stylist. Everything else is you.
James told me so many stories of the experiences he’s had on set, they were very eye-opening to the profile of a Photographers Assistant. My main lesson: Every photographer will require something different from you. Each is unique and it’s in knowing them and their ways of working that will get you far, sounds simple, but when put into practice its a test of empathy, professionalism and skill at the same time. He, is an artist also, a true rebel and this reflects in his adventurous work in Hawassa, Ethiopia seen above.
Founded in 2014 by YBF Baking Award Winner Terri Mercieca, Happy Endings has turned the London dessert scene on its head. Their ice cream sandwiches and soft-serve combine modern and traditional techniques to create desserts that are bold in flavour, temper sweetness with savoury and balance textures.
One of my favourite shoots to date with a beautiful vintage ring flash. Katie has a way of making every job fun. Her skills are solid and her preperation for each shoot is impressive. Before each job I meet her at her house and we prep her kit, she gets out her notebook and I see drawings, notes, numbers lists. You can tell she enjoys her clients, getting to know them and after speaking to them she transcends this conversation into a creative vision. When I tell you the ring flash was vintage, it practically boomed with a cloud of dust when she took the first shot. Hand holding it around her lens on the floor Happy Endings kitchen in East London I was mesmerized by the effect it gave, having never worked with one before. “Frikin insane”, I thought, this is awesome. The primary colours, the texture that came out on the paper, the simplicity of composition complimented the sandwich series perfectly. How she does it each time amazes me, and the coolest thing of all is she makes it look simple.
I have alot to thank her for. I haven’t yet reached where I want to be in my career and she’s been one of the few people who have sat me down, reviewed my portfolio and encouraged me to create more. She openly told me to celebrate and interpret the work of Photographers I like and respect the style that births from it. Even offered use of her lights and home for when I want to organize a shoot. She has such a story to tell and one day I hope she writes a book of her Life and Loves because it will truly inspire.
One of the first photographic projects I wanted to do with my newly repaired Pentax 6×7 was one of my family. My brother is a typical guy, a Type 1 diabetic and a personal expert on nutrition. He stands here wearing only his pyjamas bottoms in his flat which he shares with his girlfriend Rachael. I wanted these pictures to be effortless, natural to his character he was quite camera shy but I just told him to move, naturally. “It will be over soon” I pestered.