Assistant Adjusting Aperture

[PhotoAssistant]

Hi all,
New member here. I am looking to take on assisting roles. 
I have seen photographer assistants touching the lens while the photographer is taking pictures. In a very fast-paced shoot like "Bruce Weber shooting Michael Jackson," one assistant keeps adjusting the aperture (that's what I think they're doing)"
Or are they adjusting the focus based on the distance marking on the lens?
How does it work?
Would appreciate it if you could give me so info about it.
Thanks

Edited November 8, 2022 by PhotoAssistant

[Nick D.]

Focus pull usually used in video. I don't think anybody will change aperture during studio shot, once lighting is set, photographer concentrating his attention on the model, not on camera settings.

Edited November 10, 2022 by Nick D.

[PhotoAssistant]

On 11/11/2022 at 12:53 AM, Nick D. said:

Focus pull usually used in video. I don't think anybody will change aperture during studio shot, once lighting is set, photographer concentrating his attention on the model, not on camera settings.

Thanks @Nick D.for your comment. They could simply be adjusting the focus based on the distance. Se this pic from a Youtube video below

[PhotoAssistant]

Here you can see Testio focusing himslef and seems the asistant is just ready to take the camera from the lens to reload film?

It is better visible in the video.

[mikemorrellNL]

Apologies for my long-winded response!

TBH, I'd never heard of Mario Testino. But Google confirms that he is/was a world-famous and much sought-after portrait/fashion photographer. His wonderfully 'natural' photographic portrayal of Princess Diana in 1997, just 2 months before her death propelled him tot world-wide fame. Just out of interest, I quickly browsed through a couple of YouTube videos on his work.

Every photographer has her/his individual way of working (including with assistants). Responding to your question, two clues might be that:

- Testino openly says that he's 'useless with cameras';  Somewhere in one of the video's (probably the 'being useless with cameras' one) he talks about his assistant having to 'tape down' the preset camera settings so that he doesn't inadvertently change them while he's using a camera.

- Somewhere in one of the videos, you see Testino switching cameras with his assistant so that he can immediately continue shooting without a 'changing film' break. So your 'captures' may be simply the assistant standing ready to 'switch cameras' rather than making any adjustments.

To me, these points imply that the both cameras have probably been set up in advance (exposure, focus, lenses) by his assistant, based on the kind of shots he has in mind. Looking at some of his most famous photos (like the ones of Princess Diana), they're not what - today - many photographers would call 'outstanding' in terms of clarity of detail, etc. But - as his photos show - 'technical perfection' is not the main factor in determining the 'greatness' of his photos.

Based on the couple of videos I've browsed through, Testino himself (together with his clients and models) describe him as someone who (in my words) works closely with both clients and models to 'direct' a photoshoot. Based on conversions with clients, he develops a 'vision' for the kind of photos he wants to make and works closely with models and/or people portraited to get photos that they are both are happy with.

I once read somewhere that portrait photographers say that 'social and communication skills' are by far the most important in getting the photos they want.  I have the idea that - in addition to his 'artistic vision and skills'  - communication is one of his greatest strengths.

[mikemorrellNL]

FWIW, one more YouTube video worth watching (as a potential assistant) is The Art of Design | Platon: Photography. Platon is -just as Mario Testino -  a world-renowned and and much sought-after photographer. But specializing in portraits (including of world leaders) and of social issues worldwide. He also relies on assistants to produce the photos that he has in mind. Perhaps in a slightly different way to Testino. What they both have in common is that their 'creative vision' is central to their success. And that 'communication' plays a large role in this.  The 'photoshoot' with Colin Powell  - 10 minutes in - is illustrative.
 

 

[mikemorrellNL]

Just one more thing ...

I personally believe that both videos demonstrate how a good assistant can free-up (and also actively assist) a photographer in establishing relationships and communicating with people who they want to photograph.  And help them spend more time and energy on creating a photographic 'vision' for an assignment without getting bogged down in - or distracted by- 'the conditions/equipment.

Yes, you probably need to have (or gradually develop) some credentials as an assistant. My guess is that the term "assistant" covers a wide range of skill sets and experience levels. So my advice is to start where you are now  in terms of skills and experience and to grow these according to your opportunities and motivation.

Ideally, I think it would be great if you were to become an assistant to a photographer who increasingly left 'the details' to you, coached you in becoming an even more skilled 'assistant' and - should you have the ambition to become a professional photographer - supported you in this.

I have one caveat, I do believe that any photographer that you become an assistant to, should somehow be aligned with the kind of photos that interest you. So  for example if 'people photos' interest you, then assisting in Event, Wedding or Sport photography may be a great learning experience. If sport photography is your thing, then you need to focus on these opportunities.

FWIW, I personally think that becoming an 'assistant' is a great way of learning (from the inside out) about the photo industry.

Ideally, I hope you (eventually) find an assistant job with someone (or an organisation) that gives you increasing scope and responsibility as an assistant. To the extent to which you may wish - at some stage- to establish yourself as an independent photographer, I also hope that your employer supports this move.

 

Mike

 

[PhotoAssistant]

18 hours ago, mikemorrellNL said:

Just one more thing ...

I personally believe that both videos demonstrate how a good assistant can free-up (and also actively assist) a photographer in establishing relationships and communicating with people who they want to photograph.  And help them spend more time and energy on creating a photographic 'vision' for an assignment without getting bogged down in - or distracted by- 'the conditions/equipment.

Yes, you probably need to have (or gradually develop) some credentials as an assistant. My guess is that the term "assistant" covers a wide range of skill sets and experience levels. So my advice is to start where you are now  in terms of skills and experience and to grow these according to your opportunities and motivation.

Ideally, I think it would be great if you were to become an assistant to a photographer who increasingly left 'the details' to you, coached you in becoming an even more skilled 'assistant' and - should you have the ambition to become a professional photographer - supported you in this.

I have one caveat, I do believe that any photographer that you become an assistant to, should somehow be aligned with the kind of photos that interest you. So  for example if 'people photos' interest you, then assisting in Event, Wedding or Sport photography may be a great learning experience. If sport photography is your thing, then you need to focus on these opportunities.

FWIW, I personally think that becoming an 'assistant' is a great way of learning (from the inside out) about the photo industry.

Ideally, I hope you (eventually) find an assistant job with someone (or an organisation) that gives you increasing scope and responsibility as an assistant. To the extent to which you may wish - at some stage- to establish yourself as an independent photographer, I also hope that your employer supports this move.

 

Mike

 

Thank you so much Mike for your insightful replies.

I agree with your comments regarding Testino and that he simply might be having assistants to simply make sure camera is in correct settings.

Also, watched a video of Avedon where he was photographing a car.. his assistant set up his camera and then he asked "where should I press?" and that he did. I think having a vision is more important than know ing how to use all sorts of camera great and lights.

Thanks again for all your advice

 

[hjoseph7]

Usually touching the camera, or even getting 2 feet from the camera as a Photo Assistant would spell Anathema. I'm guessing that this has something to do with Video which I have little knowledge of ? 

[PhotoAssistant]

On 11/18/2022 at 8:25 AM, hjoseph7 said:

Usually touching the camera, or even getting 2 feet from the camera as a Photo Assistant would spell Anathema. I'm guessing that this has something to do with Video which I have little knowledge of ? 

Totally, getting close to the camera would be a big no no. 

[Ed_Ingold]

An assistant, pulling focus, is a common occurrence in cinematography. You see the results in practically every movie and TV drama, where the focus follows someone moving toward the camera, or between a subject and the background or another subject. Professional cameras even have a post at the focal plane, to which you attach the hook of a tape measure to mark distance(s) of the talent for spiked shots. Distance markings on professional video lenses are large, accurate, and span at least 170 deg of rotation. In a rigged camera, focus gears usually have a white ring which can be marked for key distances, facilitating an accurate, rapid shift.

The operator is almost always on the left, not the right as shown. There are wireless, motorized focus gears which are just as accurate, but can be operated at a convenient distance. For me, that distance is 50' to 80', including focus, zoom and aperture.