Business of Wedding Photography

a guide by photo.net wedding photographers

Topic #8: Working with assistants and second shooters

Mary Ball • Bob Bernardo • Conrad Erb • Michael Mowery • Nadine Ohara • Josh Root • David Wegwart • Marc Williams

The Business of Wedding Photography is an extensive subject, best answered by a team of professional wedding photographers, who also happen to be star photo.net members. In this article, these professional photographers have contributed advice and personal experience gained from running wedding businesses. Not only have they included tips on how to best work with assistants and second shooters, they've also included example wedding photos of bridal couples and wedding receptions. Whether you are just entering the field of wedding photography, or are a seasoned professional, the tips and insights shared here should be helpful with your own business.

Bob Bernardo - LA area.

We asked our panel of experts the following questions:

1. When hiring an assistant, what qualities do you look for?
2. How do you direct the assistants/second shooters?
3. What do you typically pay an assistant/second shooter?

Qualifications for hiring a wedding assistant

When hiring an assistant, what qualities do you look for?

Conrad Erb: I only use assistants in about 20% of my weddings. Having special knowledge about cameras is not needed. I want someone who is totally reliable, very friendly, knows how to interact with guests in a smooth manner, and knows what is going on photographically.

It's the basics that make me happiest. I once had an assistant who wore basketball shoes to a wedding - not very cool. Before, I never thought I would have to tell someone to wear black dress shoes, but now I always tell people.

Mary Ball: I want an assistant who understands the importance and urgency of photographing a wedding. That means he/she focuses completely on me and is willing to do whatever it takes to make the day go smoothly. I've had some assistants who knew very little about photography or the camera, but were better than a serious amateur or even a pro. Of course, it is imperative that the person have at least a strong passion for photography and I find the best ones are those that are hopeful they will eventually get into the field.

Nadine Ohara - SF Bay Area/CA

I can't stress enough that an assistant should be reliable and extremely focused on the photographer and their needs. This includes not chatting with guests or getting easily distracted. Ultimately, they should be able to anticipate/read the photographer's mind. Appropriate dress is key, and they should be very clear about what is needed/expected. Some photographers use an assistant in different ways.

A second shooter is another story. When hiring someone, I would look at the portfolio and depending on the talent/eye of the second shooter, I would use them where they have the most strength. That may be low light photography (church and reception) or black and white work.

Jeff Ascough: I don't hire assistants or second shooters.

David Wegwart: Friendly, bright, some idea of cameras (although this can be less as I like to share and help them learn), punctual, attentive to details and my 'nods and winks'.

Michael Mowery: Appearance is important and they should also have a self-confident manner. They must have the proper attire for the job. Aptitudes such as being responsible and reliable are a must. Unfortunately, there is no telling until you hire them. They must be quick to learn and not a know-it-all. Finally, they should keep conversation to a minimum or related to the job at hand.

Bob Bernardo: I like to hire women so they can take a camera into the bride's room and get both candid and semi-formal posed photographs that the men normally can't get. We have a makeup artist on staff and often have her take photographs, as she sees things men normally miss. She's very talented and has worked as a makeup artist for Hollywood Squares and other TV shows.

Josh Root: I do not hire assistants or second shooters.

Nadine Ohara: I don't use seconds or assistants. However, I have trained aspiring photographers in the past. Were I to hire someone, I would look for photographic promise, both technically and visually, as well as a positive attitude and outgoing personality, or at least attempts along those lines. Also a plus are common sense and demonstrated responsibility in keeping appointments, their initiative, etc.

Marc Williams: I hire enthusiastic assistants mostly to teach them what I can. I look for those willing to start at the bottom and schlep my stuff, and smart enough to not get in any of my photographs.

Jeff Ascough

Giving directions to an assistant or second shooter

How do you direct the assistants/second shooters?

Conrad Erb: With assistants, I direct them to move things around, get the couple some food/water, to go park or retrieve my car, etc. Nothing too special about it.

For second shooters, I tell them to photograph whatever I am not doing with a few exceptions for the ceremony if I hired them specifically to get a particular photograph (e.g. high up on a balcony).

Mary Ball: I speak in short, abrupt, and urgent commands. I apologize beforehand and thank them later when things calm down. It is a fast-paced day and you never want people to have to wait. I say things like film, batteries, dress (fix the bride's dress), glasses (hold Grandma's glasses or take the beer glasses from the guys in the group photo), clear the background (dead branches or a chair).

Most of the direction comes before the assignment. I spend two hours with the assistant/second shooter. They pack the bags so they know where everything is, load the cameras and go over the fine detail and requested photo lists for the day. We talk about the couple's personality, priorities, the setting, the timetable - everything.

David Wegwart: Normally I will mention what I expect to happen and when I will want or need a change of lens, camera, lights, etc. Then we will usually choose an area of coverage and stick to our areas to minimize cross-photographing.

Michael Mowery: They should already know their responsibilities. If I can't verbally direct them, I will vigorously hand-motion them accompanied by jumping up and down with bulging eyes popping out of my head. That usually gets their attention. I also use Walkie Talkies from time to time.

Josh Root

Bob Bernardo: This depends on the job. Most often I don't ask much from assistants as I normally do all of the photography. I like them to watch for blinks, help pose, look for minor details, such as the guys' boutonniers falling because they weren't pinned correctly. The main job is for them to watch my gear. My gear is heavy so there is not a need for them to move it, just to keep kids and everyone away. During the formals it is nice to have someone help with makeup and/or minor repairs if needed. I actually carry needles and thread just in case someone has an issue with straps breaking.

Nadine Ohara: I would start by sitting down and going over their responsibilities in a meeting. Then talk about how I want them to watch me and coordinate hand signals. I will usually tell them what parts of the wedding in question I want them to photograph. During the actual day, I let the plan unfold, but I tweak things along the way. I communicate a lot and expect him or her to stay close by.

Payment for an assistant/second shooter

What do you typically pay an assistant/second shooter?

Conrad Erb: It depends. Since I don't need assistants who have deep knowledge of photography, I probably don't pay what some people think a 'photography assistant' should get. On the other hand, I pay much better than I was paid when I was an assistant and a second shooter. The range is anywhere from $70-$175 for a day of work, depending on how long it is. Payment for second shooters varies quite a bit. Some second shooters aren't worth ten bucks, and some are worth over $75/hour.

Mary Ball: Answering this is probably not even helpful as the pay will vary depending on the market. I can say that assistants with little or no experience can be paid anything from $0-$20/hr and second shooters anywhere from $25-$300/hr, depending on the market and the photographer's pricing.

Conrad Erb - Philadelphia, PA

David Wegwart: If they have no prior knowledge and are coming along for the first time, about $10/hr. In some cases, I have the assistant do the first few free for experience. If I find them useful, helpful, and friendly, they soon get $20/hr. Once they are established in their working style with me and produce good work, $30/hr. Beyond that it depends greatly on how long they are around, etc.

Michael Mowery: As much as I can depending on their level of experience. Assistants: $10-$35/hr. Photographers: $100-$200/hr.

Bob Bernardo: $250 a day for assistants, 6-7 hours. Second shooters get about $450-$500 for 6-7 hours. If their work is of excellent quality and there are a lot of reorders, we have no problems sharing the profits of the reorders. It is a positive way to get the photographers to do the best they can.

Nadine Ohara: I haven't actually run into this, but when I've had others photograph with me I've paid them $100/hour. These photographers were not considered seconds or assistants, but more on the level of a full professional.

Marc Williams: I pay them enough to starve on. I frequently loan them older, unused gear to practice with.

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