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Lessons Learned on Assignment: Your First Assignment
By David Duchemin
Now create a gear list. Will you need extra lighting? Will you need a longer lens to compress that great background? Will you need light discs?
Props? An assistant? Write it down - from camera to batteries, Lexar CF cards, lenses, tripod - everything. On the day of the shoot, you want a
check-list as you pack because chances are you'll be nervous and thinking about other things, like, "Oh Dear Lord, please don't let me screw this
up," or something like that. Be prepared. If there is an item you think about bringing and then think, "No, I probably won't need that," you will.
Bring it. Sure it won't be raining? It might. Be prepared.
Now you understand the client's needs, you have a shot list, and you have a gear list. Make a plan. Walk through the shoot as best as you can,
place shots in an order that makes sense to you and to your models. Don't waste anyone's time. Your client will appreciate efficiency and if
there are problems later on, your efficiency earlier has bought you some time to deal with it gracefully. Leave room in your plan for spontaneity -
cool things can happen that open your eyes to a new direction and you need to be able to go in that direction (assuming it fits the vision and
needs of the client).
One last thing: leave room for the AD (Art Director) to do her job. Shoot vertically and horizontally. Shoot shallow, shoot deep. Shoot tight,
shoot wide. Shoot the way you want, but give the client room to move. If they're doing an ad with full-bleed, they'll need a little more image,
so at least give them a shot that's cropped less tightly. They may specify vertical shots and then wish they had a couple horizontal shots -
anticipate those needs and they'll love you forever. Or at least until the next shoot. Give the client more than they expect.
These suggestions are just the beginning. The learning process takes experience, trial, and error. But it applies to most assignments I can think
of at the beginning. Weddings, baptisms, cheesy product shots, engagement shoots, you name it.
Many photographers spend time hoping for their first assignment, waiting by the phone. Stop holding your breath and go create an assignment for
yourself while you wait. Create an imaginary brief for an imaginary client. Maybe it's the tourism council in your town or city. Why not put
yourself on assignment for them. They don't have to know. But it'll give you a chance to create a brief, anticipate the client's needs, interpret
those needs, and plan/execute some shoots. So when the phone does ring, you've had a crack at the process.
Lastly, (I know, I said this once. Call it artistic license), enjoy the process. They hired you for your eye and your creativity. If you find
yourself thinking, "If only I could shoot this the way I want to..." then there's likely a problem, your creativity is going to suffer, and your
"eye" will go wonky (that's a technical term). When you're miserable, it's hard to create, much less think straight. Take a breath. Pull back
from the camera for a moment. Allow yourself to think about alternatives and possibilities, and to ask, "Hey, what if...?" Find a way to give the
client what they want while still shooting images that make you proud. That's what they're paying you for.
Good luck.
For more information on David duChemin's work, visit www.pixelatedimage.com.
David Duchemin Bio
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