Best Business Practices for Photographers [28]
This is the ultimate illustration of why what you charge for your services should not be based upon time. Rather, it should be based on skill, creativity, and usage. Imagine having a seven-minute shoot cut to three—that's a 43-percent reduction! Would you be willing to perform for a comparable 43-percent reduction in your photo fees? I certainly would not. More on this in Chapter 7, "Pricing Your Work to Stay in Business."
First things first, you should have a contingency plan for this, and now is the time to put it into play. Jettison the extra angles/shots you were thinking you could do, knock out one of the accent lights (if you also have to set up within this timeframe) if you can, and make sure your light tests are done with your assistant (or your minder) making sure you stay in line and on schedule, so that every minute is used making images, not tests.
One of the first situations I experienced this in was during the days of film, when we needed to shoot a Polaroid. Ninety seconds was an eternity while it developed. So, even with light tests shot, we first shot a Polaroid and then, without waiting for it, we began shooting film. I refer to this technique as "shooting through the Polaroid." After 90 seconds, halfway through the shoot, the assistant pulled the Polaroid, and if there was a problem, we'd correct it during the remaining 90 seconds. With just three minutes and a fast recycle time (one more reason for high-powered lighting kits, as noted in Chapter 2), we were able to shoot five rolls of 120mm film on a Hasselblad, or 60 frames.
I also made certain that my assistant was tracking three minutes. The assistant's job was to convey to me, "One minute, two minutes, two-and-a-half minutes, time." I didn't want a minder calling the shoot 30 or 45 seconds early. In one case, I said to two world-renowned cancer researchers, "I understand we have you for three minutes"; much to my surprise, they responded, "Yes, and only three minutes," to which I responded, "Yes, and I will have you done within that time limit." Twice during the three minutes, I made frames that ended up capturing one of them as he checked his watch. My assistant gave me the 30-seconds-remaining mark, and after four more frames, I stopped and said, "Gentlemen, thank you for your time." They were pleasantly surprised that I actually was done.
The key is to have planned what to do, what not to do, and what you can do to accommodate a change in the schedule that is beyond your control. Some of the best times to go over these details are prior to arriving at the shoot, during a pre-briefing, or during the car ride to the assignment.
When to Call in a Specialist: From Lighting to Location Management, Catering, and Security
There are times—frequently for the big-time photographer and less so for the middle-of-the-pack photographer—when specialists have a definite role to play. Interestingly enough, many a well-known and highly regarded photographer in New York City couldn't light a candle, let alone an assignment that calls for a basic 3-to-1 lighting ratio, or even light from head to toe on a shadowless white seamless. These photographers rely on talented assistants who can quickly and perfectly light a scene as the photographer (or the art director) describes it.
Lighting Assistants
If you're a photographer who's used to shooting available light, but you get an assignment that calls for lighting expertise, renting the lighting from a local rental house and culling through assistants looking for those who have experience with that brand of light and are familiar with lighting will be your solution. Although some may suggest that every photographer should know how to light without relying on the talent (and