Let’s face it taking pictures can be a lot of work, especially if you do wedding, glamour, studio or location work. Since these genres are labor intensive an assistant can make the difference on whether or not a photographer succeeds. The busier you are the more help you will need.
Here is a list of assistants a successful studio photographer might need:
2. General Assistant and Second Shooter
3. Lighting Assistant
4. Photographic Editor and Web Designer
5. Makeup Artist, Hair and Wardrobe Stylist
7. Set Designer and Carpenter
Most freelance photographers may never go past the need of one assistant. Or if they do need assistance it will be per diem. Most photographers just can’t justify seven full time employees.
I am lucky my wife serves as my assistant and since she is an accomplished photographer in her own right can act as a second shooter or documentarian if necessary. I have been an avid photographer for close to forty years, during which time I was a wedding photographer for a score of years. Now I mainly shoot for fun. I do an occasional free lance job, where I hire help as needed. My most labor intensive shoot required two models, two makeup artists/ wardrobe personnel and an assistant who was actually my client. He liked to have hands on.
When I functioned as a wedding photographer, my wife loaded my film backs and cameras. If video was required, I would work with a dedicated videographer. While I had a darkroom, I never processed my own weddings. I only processed my personal photos.
Now I dabble in Glamour, Nude, Boudoir and Cosplay. Since I follow a strict policy of not touching my models, my wife helps with wardrobe and makeup issues and in posing concerns. At the very least she serves as a witness of the shoot. In our litigious culture you can never be too careful. Parents are always present for photography involving minors.
1. Secretary/ Receptionist
Since the role of the Secretary Receptionist is pretty universal the world over, I will not devote any time here. Suffice it to say the individual needs to be both professional and diligent in the performance of their duties.
2. Responsibilities of a General Photographer Assistant
A photographer assistant job, also known as assistant photographer position, is an entry-level job in which you work and support with a photographer and get a feel for the photography business. You could be employed by one photographer or work on a freelance basis to assist several photographers whenever they need you.
You might have a degree or other qualification in photography, and you know your way around the most common photographic supplies and software. This job will not contribute directly to your portfolio but it will educate you in all the non-creative aspects of being a photographer. Reviewing photographer assistant skills will help you prepare to get your foot in the door in this career.
Preparation for These Jobs
As a photographer assistant, you are responsible for ensuring that every shoot runs smoothly, explains Better Team.com. Talk to the professional photographer in advance to make sure that you understand the purpose of the shoot, the format for the day and what equipment he will need. You may need to rent equipment or scout locations in advance.
Then your job is to prepare and check the set or location and make sure that all equipment is available, clean and working. This is why it’s important to learn about photography equipment and how it’s best used before you apply for a job, advises The Guardian. Just because you have a great portfolio doesn’t mean you know how to assist on a set or at an outdoor shoot. This is why it’s a good idea to take one or more photography classes at a local community college or other educational institution, recommends jobs website, ZipRecruiter.
Assisting a Lead Photographer
During the shoot, you are there to assist the photographer, and your duties will vary from shoot to shoot. You will almost certainly be required to carry and set up equipment. You could be asked to stand in for the subject while the photographer sets up lighting.
If reflectors are used during the shoot, you’ll be the one holding them; you’ll also be the one changing lenses or making small lighting adjustments while the model is holding a pose. If you are lucky, the professional may ask you do take some test shots or even take shots of him at work for use in his publicity material.
You’ll want to have your own equipment, and you’ll be more helpful if you have similar items you can give to your lead if she runs out of or forgets items for a shoot. Part of working as an assistant is learning the business, so work with your lead to learn what items you should be buying and bringing to shoots – you never know when you’ll have an opportunity to shoot something.
Administrative Responsibilities For This Job
If you are working as a photography studio assistant, you will be responsible for most of the studio administration. This includes answering the telephone, digital filing of photographs, dealing with invoices, licenses and hiring agreements.
If clients visit the studio, it’s your job to welcome them warmly, take their coats and offer to get the coffee. You might be responsible for making daily social media posts, sending out links to digital portfolios (to prospective clients and after shoots) and ordering supplies.
Maintaining A Professional Image
As a photographer assistant, particularly if you are freelance, you must behave professionally at all times. Be punctual, polite, and ready to help. If you can anticipate the needs of the photographer or clients, so much the better. Finally, make sure you dress appropriately, particularly for an external shoot.
3. Lighting Assistant
If the photographer is recording a wedding or a fundraising dinner, the client is not going to want you to be hanging around in jeans. Ask the photographer what the dress code is and make sure you adhere to it.
As a professional photographer, you’ve probably experienced a couple of less-than-ideal situations regarding your lighting assistants. Whether they lost equipment or spent the entire time texting, there are certain do’s and don’ts that are important to communicate prior to any gig, no matter how big or small. Because of this need, we’ve created a list of 5 basic responsibilities for lighting assistants. Feel free to send your lighting assistants over to this article prior to your shoots so they can familiarize themselves with the general responsibilities of being a lighting assistant and avoid potential mishaps.
While being a lighting assistant doesn’t require a specific skill set, the job does go beyond simply carrying equipment and following instructions. A good lighting assistant is engaged, proactive, professional and personable. Each lead photographer will have different expectations for their lighting assistants; but in general, there are certain things that all lighting assistants should keep in mind.
1) Assist with Lighting
– As the lighting assistant, your primary tasks will be 1) using a reflector to bounce light onto the subjects, 2) setting up flash stands, 3) adjusting the settings on external flash units, and 4) holding/aiming video lights. If you don’t know how to do any of these things, don’t worry. These skills are easy to learn and they can be picked up on the job. If your lead photographer has allowed you to bring your camera along, make sure that you are not distracted from your primary task of being a lighting assistant. Though you may think you’re doing a great job holding a light with one hand and shooting with the other, chances are, you’re not doing either well at that moment.
2) Manage Equipment
– It’s your responsibility to keep track of and organize the equipment. As you travel from location to location, even the lightest tripod can start to weigh you down. As you take breaks or set any equipment down, it takes a conscious effort to keep track of everything. As the lead photographer hands you a lens or other equipment to put away, make sure it’s secure and organized so you can easily find it again when it’s needed. And as you set up a flash stand outdoors and the wind picks up, it’s your duty to glance over and make sure it’s not going to tip over. These are just a few examples of managing and organizing the equipment; but in general, keep in mind that you’re dealing with expensive equipment, from $300-$1000 tripods to $500 to $3,000 lenses. Be proactive and make it your responsibility to stay on top of the equipment.
3) Watch for Details
The lighting assistant should help the lead photographer watch for details. In an ideal world, the lead would notice everything in a scene; but sometimes, with so much on his/her mind, things can slip through the cracks. Keep an eye out for a couple of things in particular:
* The Background – Is there anything distracting or out of place in the background? Watch for water bottles, bags, or any other clutter in the background that might distract from the image.
* The Subjects – Watch for stray strands of hair, wardrobe malfunctions, and other obvious issues. If you’re on a wedding shoot, always mind the wedding dress and veil and make sure they are always looking at their best.
4) Dress Professionally
– It’s important to dress appropriately. For an engagement session, feel free to dress casually; but be sure to prepare for any changes in weather and shooting into the evening. Wear comfortable shoes, as we may be walking a lot; and if we’re heading to the beach or into the woods, make sure you don’t wear anything that you wouldn’t mind getting a little wet or a little dirty.
For weddings, our studio dresses in full black, conservative attire. Black collared shirts or sweaters with slacks is the norm; but this is flexible as long as you’re using your judgement and represent the studio professionally. Skirts, dresses, and heals aren’t a great idea, as you never know if you have to climb over or onto anything.
5) Act Professionally
– Be sure to stay engaged in the moment, staying off of your phone and avoiding the bored/disinterested look. We realize that it’s not the most exciting job in the world, but as with any client serving industry, it’s important to focus on the job and act interested. Talk when appropriate but make sure you’re not making comments that distract from the moment.
Always remember that you are a vendor and an employee at any event. Clients and their guests will often invite you to have an alcoholic beverage and join in on the fun and dancing. However, it is important to politely decline these offers. While a little drink and dance may seem harmless, it could be a major liability if anything were to go wrong during the event. Grab a bite when it is deemed appropriate, get some water and a soda to stay hydrated, but never cross the line between guest and professional.
6) Learning and Asking Questions When Appropriate
– Many of you lighting assistants are aspiring photographers, excited to observe and eager to learn. Some of the most educational experiences in our photographic careers was during the time we were apprenticing and assisting other master photographers. Simply paying attention to the photographer, his technique, and interactions with the client, often taught us more than any class, lecture or book ever could.
However, make sure you understand that the shoot is not a training session. Fight the “lemme see” instinct and wait until it’s appropriate to view the photographers work that you helped create. Unless it’s a question about the task at hand, save your photography questions until after the shoot.
Besides the 6 points above, it’s important to just simply use common sense. Be on time, be friendly, and have a great attitude, even if your job is to run to the car and grab a piece of equipment. Hopefully the learning experience along with the financial compensation will make it worth your time. And of course, make sure you have fun!
4a. What Does a Photo Editor Do?
Photo editors are responsible for managing the visual elements of a publication or broadcast. They work closely with writers, designers and other editors to ensure that each piece of content is visually appealing and consistent with the overall style of the publication. Photo editors may also be responsible for sourcing images from freelance photographers or photo agencies. This can include everything from commissioning new photos to purchasing rights to existing images.
Photo Editor Job Duties
Photo editors typically have a wide range of responsibilities, which can include:
- Conducting research on current trends in photography styles, techniques, and technologies in order to keep abreast of industry trends
- Reviewing photos taken by photographers on assignment to determine which images will be used in published materials
- Preparing image files for publication, including cropping, retouching, color correction, adding text or graphics, and converting formats
- Editing photos to improve composition and aesthetics, using digital software such as Photoshop
- Assigning photographers to cover specific events or subjects
- Managing the department’s workflow to ensure that deadlines are met
- Assisting in the creation of photo essays, such as capturing B-roll footage for use in a video presentation
- Reviewing and selecting images for use in advertising campaigns or other marketing materials
- Selecting photos for publication in printed newspapers or online magazines
Photo Editor Salary & Outlook
Photo editors’ salaries vary depending on their level of education, years of experience, and the type of company or publication they work for. They may also earn additional compensation in the form of bonuses.
- Median Annual Salary: $41,500 ($19.95/hour)
- Top 10% Annual Salary: $89,500 ($43.03/hour)
The employment of photo editors is expected to grow at an average rate over the next decade.
Digital photography and the use of social media have increased the demand for photo editors, who are needed to edit digital images and create visual content for websites and social media platforms. However, the increasing popularity of mobile devices, such as smartphones and tablets, has led to a decline in the number of traditional photo processing labs.
Photo Editor Job Requirements
Photo editors typically need to have the following qualifications:
Education: Photo editors need at least a high school diploma or GED. Some employers prefer an associate or bachelor’s degree in photography or a related field. Courses in photography, digital media and graphic design can help prepare students for a career as a photo editor.
Training & Experience: Photo editors typically receive on-the-job training. They may shadow other photo editors or photographers to learn the workflow and style of the publication. They may also learn how to use the photo editing software the publication uses.
Certifications & Licenses: Photographers need a photography license to work in certain fields. Each state has different requirements for how to get a photography license, so photographers should check the requirements in their state.
Photo Editor Skills
Photo editors need the following skills in order to be successful:
Editing skills: Photo editors use their editing skills to make changes to images, including adjusting lighting, removing objects and adding effects. This is a crucial skill for photo editors to have, as it allows them to make changes to images to improve their quality.
Technical skills: Photo editors use technical skills to edit images and create graphics. They may use software like Photoshop or other image-editing software to crop, resize and adjust images. They may also use software to create graphics like charts, graphs and other types of images.
Communication skills: Photo editors often communicate with clients, other photo editors and other members of a team. Effective communication skills can help you collaborate with others, share ideas and explain complex concepts. You can also use communication skills to communicate with clients, ensuring they understand the work you’ve done for them.
Critical thinking skills: Critical thinking skills are the ability to analyze a situation and make a decision based on the information you have. As a photo editor, you may be asked to edit a photo that doesn’t have all the information you need to complete the task. For example, if you’re asked to edit a photo of a person’s face but you only have the person’s back, you may need to use your critical thinking skills to decide what to do with the photo.
Problem-solving skills: Photo editors often work on tight deadlines, so they need to be able to solve problems quickly and effectively. This can include finding solutions to technical issues, such as when a photo isn’t displaying correctly or when a file is corrupted. It can also mean finding solutions to non-technical issues, such as when a model doesn’t show up for a shoot or when a location isn’t available for a shoot.
Photo Editor Work Environment
Photo editors work in a variety of settings, including newsrooms, advertising agencies, corporate communications departments, and yearbook and newspaper offices. They usually work a standard 40-hour week, although they may occasionally work overtime to meet deadlines. Photo editors typically work in well-lit, comfortable offices or studios. They use computers and other office equipment to perform their work and may be exposed to occasional fumes from chemicals used to develop photographs.
Photo Editor Trends
Here are three trends influencing how photo editors work. Photo editors will need to stay up-to-date on these developments to keep their skills relevant and maintain a competitive advantage in the workplace.
The Rise of the Visual Storyteller
The rise of the visual storyteller is a trend that is quickly changing the world of photography. As more and more people are turning to social media for their news and information, photo editors will need to learn how to tell stories through images.
This trend requires photographers to be able to think outside the box and come up with creative ways to capture the attention of their audience. It also requires them to be well-versed in editing software so that they can create visually appealing photos.
More Use of Video in Advertising
As advertising becomes more digital, businesses are starting to use video more often. This is because video ads are easier to produce and can reach a larger audience than traditional print ads.
Photo editors can capitalize on this trend by becoming experts in video production. They can do this by learning how to shoot and edit video, as well as by developing an understanding of how to create effective video ads.
A Focus on Diversity
Diversity has become a major focus in the photography industry in recent years. This is due to the fact that many customers want to see images that reflect the diversity of the world around them.
Photo editors can capitalize on this trend by making sure that their portfolios include images that represent different cultures, genders, and sexual orientations. In addition, they should be open to working with photographers who specialize in these areas.
How to Become a Photo Editor
A photo editor career can be incredibly rewarding. It offers the opportunity to work with a variety of photographers and subjects, as well as develop your own creative vision. As a photo editor, you’ll need to have an eye for detail and be able to see the big picture. You’ll also need to be able to manage multiple projects simultaneously and meet deadlines.
To become a successful photo editor, it’s important to stay up-to-date on the latest trends in photography and technology. You should also be familiar with the various editing software programs available. Additionally, it’s important to build relationships with other professionals in the industry, such as photographers, designers, and writers.
Advancement prospects for photo editors are good. With experience, photo editors can move up to higher-level positions, such as chief photo editor or director of photography. They may also start their own photography business or become freelance photo editors.
4b. Web designer: job description
Web designers plan, create and code internet sites and web pages, many of which combine text with sounds, pictures, graphics and video clips.SaveShare
A web designer is responsible for creating the design and layout of a website or web pages. It and can mean working on a brand new website or updating an already existing site. Their role is different to web developers , who specialise in making web designs a reality or writing code that dictates how different parts of the website fit together. However, there can be crossover between the two roles.
Responsibilities of the job include:
- creating website designs
- producing sample sites
- meeting with clients to discuss requirements and/or project progress
- demonstrating and receiving feedback about draft sites
- keeping up to date with recent technological and software developments
- creating products that are user-friendly, effective and appealing
- digital retouching and image editing
- working as part of a multidisciplinary team
There can be some pressure to meet deadlines and so extra hours may be required.
- Software companies
- IT consultancies
- Specialist web design companies
- Large corporate organisations
- Any organisation that uses computer systems
Self-employment/freelance work is often possible for individuals with appropriate experience. Vacancies are advertised online, by careers services and by recruitment agencies.
There are routes into web design for both university graduates and school leavers. For jobs advertised to graduates, employers are likely to seek a degree in digital media design or a related subject. Whether you have a related degree or not, you will need to be able to present a portfolio of your best web design work.
School leavers wanting to go into web design should look out for web designer apprenticeships and should expect to have to prove their interest, for example by having relevant work experience to talk about.
- Attention to detail
- Analytical skills
- Communication skills
- Technical ability
- Excellent IT skills
- SEO knowledge
- Experience of using programmes such as PhotoShop and InDesign
5. Makeup Artist, Hair and Wardrobe Stylist
Makeup artists are responsible for designing and applying the cosmetics and prosthetics worn by on-camera talent. “Makeup is necessary to render true skin tones and bring features forward for correct imaging in the final product (photos, video, live broadcast, movies, etc.),” says media makeup artist, hair and wardrobe stylist, Suzanne Patterson.
“A strong working knowledge of advanced color theory, lighting principles, film stocks, and camera formats,” is essential for a makeup artist, according to Patterson. “You also need knowledge in makeup principles as applied to these elements, and that includes skin tones, application techniques, cosmetic chemistry, product knowledge for proper selection, and the right tools to do the job. It is helpful to know about postproduction techniques as well. For students, take classes in school such as art (for color theory and composition), and any video or stage production classes (for camera format and lighting techniques). Oftentimes in high schools or colleges, they offer a stage makeup class, and I strongly recommend that experience. You will have a chance to study facial anatomy and work in three-dimensional makeup, a very important concept and skill to have.”
A Typical Workday
On a typical shooting day, Patterson is on the set 20 minutes before call time to set up her materials in the trailer or room designated for the makeup department. “Arriving early gives me a chance to get the kit laid out according to my script breakdown (requirements) and charts I have prepared for that day’s shooting schedule (principle actors, secondary characters, etc., and the makeup requirements for each).”
Depending on the number of talent to be made up, Patterson may have a second to assist her. “I think of my seconds as more of co-equals, working with me as a team, not just assistants doing powder puff mechanic work. I pick people who have a high degree of ethics, have the skills to duplicate continuity efficiently, can work quickly and independently without oversight but in line with the key, can think on their feet, and solve problems out of their kits.” Patterson works closely with the hair and wardrobe departments to ensure that the talent is ready and on time for their scenes.
Throughout the day, makeup must be maintained to ensure continuity. Polaroid photographs are taken for reference. “If there are any makeup changes or effects scheduled, then we also take care of that. When filming wraps for the day, we take the talent back to the makeup room and remove the makeup and/or effects makeup from their faces, and bring the skin back to prefoundation status. Next, we clean up the room in prep for the next day’s shoot. Then back to the hotel (if on location) or home, where I look over the next day’s crew schedule, shot sheet, and script requirements and charts.”
Advice for Someone Seeking This Job
“Finish high school FIRST! Get that diploma!” says Patterson. “Hopefully, you will have had a chance to dabble in art and stage or video production classes in high school. Take a stage makeup course in college or community arts class. Get grounded in color theory because all elements in production, from makeup, set design, and wardrobe, to camera, film or tape, and lighting, are based on both subtractive and additive color theory, and the lighting is the interactive medium. You must understand gray value scale.
“One can opt to go to a formal makeup-specific school that is oriented to our industry, but above all, practice your art and skill once you acquire it, and keep a brush busy in your hand. Develop diverse skills.
“Check your ego at the door and develop good interpersonal skills and business practices. Eighty percent of success in this business is about public relations, and the rest is talent and skill. Good people skills will get your foot in the door.”
What do you like least about your job?
“For me, it is definitely the long hours in film production (especially on shoots with 16 to 18 hour days and little turnaround time) and the long shooting schedule (sometimes months at a time away from home). It makes a huge difference in how the crew works together, too. The atmosphere can be like family or the ‘shoot from hell!’ Video and television is MUCH more sane; rarely do I work more than eight hours, and the location work is studio or regional, so I can go home at night.”—Suzanne Patterson
“There will always be politicking, and that usually is a function of egos trying to climb the ladder, or own it. But, it’s all in the way you handle that, and for me, I just ignore it all and concentrate on more serious things. One thing is for sure: you are only as good as your next booked job.”—Suzanne Patterson
What do you love most about your job?
Patterson loves people and makeup affords her the opportunity to meet and work alongside new and interesting individuals. She also loves that her work is never mundane. “There is such a variety in production. I am skilled to do many things, from straight makeup to fantasy alien effects and all the stuff in between, such as glam, period, character, editorial, fashion, stage, etc. I also do hair and wardrobe, so there is a variety to keep me interested and challenged.”—Suzanne Patterson
Professional Profile: Suzanne Patterson, Media Makeup Artist, Hair & Wardrobe Styling, Creative Artistry & FX
“I always had a very creative photographic eye,” says Suzanne Patterson. An accomplished costume designer specializing in period clothing, particularly from the Civil War era, she built several authentic reproduction gowns for various productions: “ … authentic right down to the smallest details and textile availabilities in that era.” While in college, as a lark, she enrolled in a stage makeup class. Excelling quickly, she was soon assisting the instructor in teaching the course.
“I started thinking seriously about makeup as a career after doing some stage productions, but I didn’t want to do just straight makeup stuff—it had to be ‘push the envelope’ type of work, very color-oriented original stuff. I also wanted to work in the film and TV mediums, so early on in my budding career, I did a LOT of work for free—what is known as apprenticing—to learn the inside art of makeup and hone my skills.”
Patterson took every opportunity that came her way to hone her makeup skills, including work on UCLA and USC student films and deferred pay jobs. “Back in the days before the studio system died out and freelancing took over, apprenticing was a time honored way to learn the craft. I was fortunate to be mentored by some really great makeup artists, such as the Westmores, and Emmy Award [winning] artists like David Dittmar.
* “Do something creative every day in your art and always take photos of your work whenever possible. If you are doing FX work, definitely keep a photo catalog of your work. Take advantage of all kinds of makeup venue opportunities. You will learn something valuable from each experience toward building your career. For example, many years ago, before my career, I took a stage makeup class in college and found that I really had an interest and talent in special makeup effects, which led to some serious training later on in my career for FX work. Working for counter cosmetics companies gave me a wealth of diverse faces and skin tones to work on every day, another valuable experience.”—Suzanne Patterson
“I began to get paid assist jobs and then worked my way to keying independent films and getting onto TV shows and other features. I would have to say that I have had the blessings to work on a wide variety of productions through the years, and that has given me a wealth of knowledge and experience. All, combined, have led to my success as a national makeup artist, respected teacher, and author. I particularly enjoy giving back to my craft, by training and educating the next generation of artists.”
Patterson has worked with and designed makeup for some of Hollywood’s biggest stars, such as Tim Allen, Melanie Griffith, Jennifer Love Hewitt, Don Johnson, Queen Latifah, Charlie Sheen, Arnold Schwartzenegger, and Jonathan Taylor Thomas, working on productions such as the Daytime Emmy Awards, ABC Monday Night Football, the Home Improvement television series, and commercials for Coca Cola, Lockheed-Martin Aerospace, and United Parcel Service.
Believing that her talent is a blessing from God, Patterson says she tries to give back by doing “paramedical makeup work for accident victims, cancer patients, burn victims, etc. I also teach workshops and seminars for aspiring makeup artists, and master classes to seasoned artists.”
The name says it all, most photographers have a part time accountant to keep track of their books.
7. Set Designer and Carpenter
WHAT IS A PRODUCTION CARPENTER AND WHAT IS THEIR ROLE ON SET?
The Production Carpenter is responsible for building, installing, and removing wooden structures on the film set and on location. They are one of several members of the construction team that work together to carryout the design and creative vision of the Producer and the Director under the art department. Production carpenters must be highly skilled at their craft and should possess the ability to visualize structures and props in advance of the production.
Production Carpenters have strong working knowledge of carpentry and the ability to creatively see through film set production in a timely manner. They must build and take down sets on deadline, often working under immense pressure to complete projects on schedule.
RESPONSIBILITIES OF PRODUCTION CARPENTERS
Carpenters play a crucial role in the production of the film and ensure that the set looks and feels the part. They take instructions for various structures and designs from the Chargehand Carpenter and are often responsible for producing props that may include window frames, doors, or staircases while maintaining the desired architecture of the set which may include replicating a spacecraft or bringing to life a medieval ship. The creative ability of the Carpenter must be strong and consistent in order to see that support structures and necessary film set platforms are constructed in a way that maintains the look and feel of the creative vision of the film.
Carpenters must carryout all work on deadline according to schedule often coming into the production in the pre-production phase to ensure that the location is set and ready in advance of the shoot. They help to strike or dismantle and remove all wooden structures following the shoot and may be required to transport or dispose of structures at the end of the film day.
SKILLS OF CARPENTERS
Carpenters possess several skills in relation to the use of wood to build structures and film sets or props. They must have first-rate craft skills in order to be able to quickly and efficiently create the creative sets necessary for the film production while maintaining budget and shoot schedule. Carpenters may develop creative shortcuts along the way to ensure that the set looks and feels as close to the visual part as possible. They have the ability to understand and visualize the end part of complex drawings that come from the art department and are able to use strong math skills to appropriate develop sets to scale. Carpenters are team players that work with several others on the set while using their stamina, strength and skill set to produce working environments that are safe and functional for others involved in the production.
Work.chro.com, “responsibilities of a photographer assistant. ” by Lalla Scotter; slrlounge.com, “5 responsibilities of photography lighting Assistant. ” by Lin and Pye Tiysa; climtheladder, “What Does a photo editor do?” BY Martin Yate; targetjobs.co.uk, “web designer: job description. “; careers.stateuniversity.com, “hair,makeup and costmes.” BY Suzanne Patterson; beverlyboy.com, “What is a production Carpenter and what is their role on set?