Tips and Techniques for Aspiring Film Set Photographers
Welcome to the electrifying world of film set photography, where every click of the shutter captures a story, a moment, or an emotion that's fleeting yet unforgettable. If you're an aspiring photographer with a passion for cinema and a thirst for capturing the essence of storytelling through your lens, then you're in the right place. Film set photography is an art form that combines technical skill with creative vision, all while navigating the dynamic and sometimes chaotic environment of a film set.
Today, let's dive deep into the art of capturing action on film sets, sharing insider tips and techniques to elevate your craft.
Understand the Rhythm of the Set
Before we talk about aperture settings or composition, the first step in film set photography is understanding the rhythm and flow of a film set. Film sets are high-energy environments with a lot of moving parts. From the director calling out commands to actors delivering their performances, every component is meticulously orchestrated.
As a photographer, your role is to be a silent observer, capturing the magic without disrupting the harmony. Familiarise yourself with the schedule (you get a call sheet the night before to let you know what scenes are being shot and a script), be aware of the scenes being shot, and respect the space of actors and crew members.
Sometimes deciding to step away and let a tense situation smooth out is the best option. Also, equally, knowing when to stand your ground and stay is a hard decision. I remember the first time a first AD said ‘Only essential crew members can be here, everyone out!’ and I slid behind a light and stayed put, quietly. He clocked me halfway through the take and smirked, we both knew if he’d seen me beforehand he’d have told me to leave but my ghost-like tendencies rewarded me.
Master the Art of Anticipation
Great film set photography is as much about anticipation as it is about reaction. Learn to predict moments before they happen. Whether it's an actor's expressive glance or a director's enthusiastic gesture, being one step ahead allows you to capture images that are both dynamic and filled with emotion. This skill comes with experience and a deep understanding of filmmaking processes, so immerse yourself in the world of cinema to build your anticipatory skills.
Composition and Framing
Composition is key in telling a story within a single frame.
My main aim as a unit stills photographer is to try and capture exactly what the main camera is capturing, that is a still photograph worth getting. And to try and do this whilst we’re filming, as much as set ups are sometimes necessary they are never as good as the take on camera.
This is because the actor is modelling rather than acting for you, they go through the motions rather than the emotions.
On a film set, look for compositions that offer a glimpse behind the scenes yet feel like a story in themselves. Use leading lines created by the set design, frame-within-a-frame techniques using doorways or windows, and the rule of thirds to create balanced yet intriguing images. Remember, your photographs should convey the atmosphere of the set, giving viewers a sense of being right there in the action.
Timing is Everything
In film set photography, timing isn't just about capturing the action; it's about doing so in a way that respects the production's flow. Be mindful of when to take your shots. Avoiding the actors eye lines in quiet, intimate scenes or crucial moments unless you have explicit permission.
Instead, utilise rehearsal times or breaks between takes. Communicate with the assistant director or cast if you’re on good terms to understand the best moments to capture, ensuring your presence enhances rather than interrupts.
The Responder Season 2
I’m grateful Martin trusts me after Season 1 so when he was readying himself mentally for the next scene (a heavy one I had no intention of shooting) I shot this moment instead, he nodded as I made eye contact with him, a silent permission and it’s now the main image used for Season 2.
Creating a trusting relationship with Martin was key throughout our years through The Responder and I can capture these moments which might not be in the show but clearly show what The Responder’s heartbeat is.
Lighting Challenges and Solutions
Film sets offer a unique challenge in terms of lighting, often mixing natural light with artificial sources. Embrace these conditions as an opportunity to play with shadows, highlights, and contrasts. If you're shooting a scene with complex lighting, consider manually adjusting your camera settings to balance the exposure. A good tip is to shoot in RAW format, giving you greater flexibility in post-processing to correct or enhance lighting conditions.
In my most recent job I’ve had my hand forced with low lighting to shoot with a VERY HIGH ISO and so much haze it’s like pea-soup! Alas, that is how the show looks and at least my camera is mimicking it correctly.
Silo S1
If you’re stuck in a Silo underground with zero natural light and only artificial lighting, it’s going to look exactly like that and it should. I don’t moan or shy away from this, I know it’s dark, it should be. I know it’s noisy, it’s going to be. It’s going to look like the show looks and I am proud it does.
Building Relationships on Set
One of the most underrated skills in film set photography isn't related to photography at all – it's about building relationships. Creating a rapport with the cast and crew opens up opportunities for more candid and intimate shots. Be respectful, maintain a positive presence, and ensure everyone is comfortable with being photographed. Remember, trust is crucial in allowing you to be in the right place at the right time.
My go-to is insisting the first AD or the publicist introduce me to the cast before I start any work. This is essential in my books. I want the cast to know my face before I enter the set, I want them to feel they have space to tell me yes or no. I ask them outright my magic question, ‘What are your preferences when it comes to stills?’ - this invites and opens a conversation. I also tell them they can tell me in any terms, even a hand motion that will let me know if they’d prefer me not to be on set without bringing any attention to either of us. If I see their hesitation, I then ask them if they’d prefer to let an AD know to tell me that usually seals the deal. It’s compromise and trust which helps me.
The Ballad of Renegade Nell
I absolutely, under any circumstances go against their wishes, if they see me sneaking around and pushing their boundaries I hate to think what that would mean and feel for them. I’ve been advised too by producers with difficult talent and encouraged by other photographers but that for me, is the biggest no-no. I see it as consent and if I tell a guy no, it means no. It’s the same on set, for me personally anyway.
Alice Kremelberg
I met Alice on The Ballad of Renegade Nell and we just clicked. She was not only incredible but I had been in awe of her since watching The Sinner. She loved photography and all things dark like I do and we ended up connecting outside of work and doing an underwater shoot together which I’m still utterly in love with.
Continuous Learning and Adaptability
The world of film is constantly evolving, and so should your photography. Stay updated with the latest photography trends, techniques, and equipment. Attend workshops, network with other photographers, and continuously seek feedback on your work. Adaptability is your greatest asset on a film set, where no two days are the same. Be prepared to adjust your approach based on the day's demands, whether that means changing your lens to capture a wider scene or tweaking your settings to deal with sudden changes in lighting. Update your firmware too! You’d be surprised how many photographers don’t and some of the updates are fantastic!
Generally on film sets you won’t be told your work is good, it’s a thankless job a lot of the time. When you get it really right sometimes your image might go viral and go everywhere but a lot of the time you’re not credited! When you are it’s fantastic. Sometimes you’ll be told throughout a shoot to try and get more images of x,y,z and sometimes you’ll be let go of job because you’re not getting what they want but it’s rare.
When to Let Go
So, not what we all hope for but sometimes, the job isn’t for you. And that is OKAY. There is a variety of reasons from phobias (I refuse to get on a damn boat) to clashing with the actors or maybe you just need a break.
If you get on a job and the vibe is off so to speak, nothing is clicking (pun intended) and you’re not walking away with much, it’s okay to let the producers know and offer the job to someone else.
I’ve had a job before when I just wasn’t doing good work, I was struggling hard, I ended up crying in my car and wondering why I was even in this career. Finally, I spoke to another experienced photographer and she said ‘Give it to someone else.’ My pride almost got in the way but why was I wasting my time and the production’s time being there? For what? My ego? No, thank you. So I very candidly spoke to production about how I was feeling and asked if they’d be open to another photographer coming in and they said absolutely and they understood where I was coming from. The other photographer had a much easier time with the cast as they’d worked with them before. Sometimes it’s just a personality clash and there’s nothing you can do about it.
Also vice versa, I’ve had actors/directors/producers I really get on with so I’ve taken over jobs for other photographers who just don’t get on with them. It’s all about supporting one another in all being the best we can be.
Reasons I’ve walked away from jobs and it’s been okay
A family member was dying
An actor and I did not get along at all
Sickness
The location was too far to make the money worth it in the end
The schedule was constantly changing and it conflicted with another job
They decided to add a scene in which was personally triggering for my PTSD
A job is never worth your mental health, physical either. Thankfully the unit stills group as a whole in the UK are deeply supportive of one another and if you want to hand a job over we all are open and honest about our experience and let someone else take over if they wish, I dread to think what it would be like without this strong community. We love our jobs and we want to continue loving our jobs so letting one random bad production (for you personally) ruin it would be a waste.
Overall, film set photography is a thrilling blend of charisma, trust, technical skill, and storytelling. It offers a unique opportunity to document the magic of filmmaking, capturing moments that, while unseen on the silver screen, are integral to the storytelling process.
As you embark on this journey, remember that each film set is a new adventure, a chance to refine your craft, and, most importantly, to tell a story through your lens. So, keep your eyes open, your camera ready, and your heart tuned to the captivating rhythm of cinema. Welcome to the world of film set photography, where every shot is a new story waiting to be told.
