How To Do A professional Assignment – Step Three

How To Do a Professional Assignment – Step Three

by William Lulow

After I have determined what kind of shot will be required to satisfy the art director’s (or the client’s) need, I begin to plan the shoot. I assemble all the equipment necessary, whether I will take it on location or use it in the studio. If it’s a studio shot, I set up the background first, then all the lights I think I will need. Since I know my lighting, I can actually make a piece of white no-seam register dark in the camera by keeping light off it. But sometimes, I might have to change the background in the middle of the shoot. 

I always begin with more than I think I’ll need because everything changes once other people come to the studio and their points of view start being discussed. I do the same if I’m going on location. I always bring backups and extra equipment, just in case I might need something. If I don’t need it, fine! But I never want to be caught without a vital piece of equipment. I have a checklist for everything I take on location so that nothing is forgotten either to be packed or at the location for re-pack.

These days, I usually take a backpack for my camera gear. It includes my camera bodies, lenses, Pocket Wizard radios, filters, extra batteries, cords and a portable flash unit with bounce card. I have everything I need to shoot the images I need right here.

I have a small case on wheels for my portable lights. It consists of two Sunpak 120J flash units (They are older but have nice big, round reflectors which produce nice light), batteries, chargers and all necessary hardware. I also carry two light stands as well. So when I’m doing a location shot that doesn’t require any studio lights, this equipment does the trick.

This location checklist, the art director’s sketch, contact information about the job, the galley (for a magazine shoot), my sketches of the set up – all this info is stapled to a “Job Sheet.” On the front are spaces for client name, contact info, art director’s name and contact info including all email addresses. Also included are: shoot date, completion date, any models’ names, assistant(s) names and check boxes for services such as props, retouching and location fees such as transportation. This job sheet has a number that corresponds to a listing on my “Job Records” list, and once the job is completed and downloaded to one of my external hard drives, the Job Record is then filed in a special folder so that I can reference it, if necessary. Most other information about the job is in the form of emails which I print out and staple to the sheet as well. I don’t want to go hunting through my computer’s emails looking for a specific email. So, every correspondence is printed out. This used to be an envelope into which I would put all necessary forms, receipts, polaroids, other contact info and any other item that was part of the job.

I have found after 40 plus years in business, that accurate record-keeping is just about a “must” these days. I always want to be able to see what people I work for have wanted and have received. Also, over the years, I have improved my communication skills quite a bit. I guess this comes with experience. But once you know the right questions to ask BEFORE an assignment, you will be better able to have the right answers and techniques AFTER the shoot begins.