Question 8: How do I become a second shooter?
Answer 8: If you recognize a few facts before starting your campaign to become a second shooter, you will probably be able to tailor your efforts to be more successful.
-Any of the more successful shooters in your local market are probably getting multiple offers to assist every week. Many of these offers are to shoot for free. These offers are coming from shooters of a variety of skill and experience levels. So be aware that many of these positions are sought after, and placement is competitive.
-Most photographers already have a second/partner.
-Any photographer with common sense knows that he/she, when training a second shooter, is ultimately creating his/her own potential competition. Typically, the more secure photographers are confident enough in their talent that they are not threatened by this. However, be aware that "let me shoot just a few weddings with you to get some experience" doesn't sound all that appealing to even the most secure photographer. Personally, I would not be interested in working with anyone in my local area who wasn't willing to commit to an entire season, other than in the rare case where a "regular" second shooter was unavailable. Many pros will only invest in training you (and take the risk of subsequent competition) if they feel they are "getting their money's worth."
-Most savvy photographers will consider assurances that "I just want to give it a try, I'm not looking at doing this for myself as a business" to be disingenuous, even in the unlikely event that they are true. Personally, I would probably disqualify an applicant on that basis alone. The only exception would be if you have a REALLY good day job, such as being a doctor or senator.
-Some photographers will disqualify a potential applicant if they have pursued a "lowball" approach to their business in the past.
-Some photographers prefer to take on individuals as assistants before they are promoted to second shooter status. Assistants typically only help manage gear, and do not shoot.
When you are actually offered a position, here are some things that may be issues:
-The studio that employs you will typically own the copyright to anything you shoot for them.
-You may be faced with limitations on your ability to use images for your own portfolio. A common condition limits your "public" use of the images, such as on websites, but permits "in studio" use to show prospective clients.
-You may be forbidden to take outside work on your own
-You may be asked to sign a non-compete clause forbidding you from starting your own business in the area for a finite time period.
-You will almost certainly be forbidden from mentioning any outside business interests to clients of your employer (IE marketing your own wedding studio while on the job for your boss)
-You are probably going to have to furnish your own kit.
-Some photographers only work with seconds shooting on the same system (Canon or Nikon, usually)
Some of the above restrictions may make a given second-shooter position unsuitable for you and your personal goals. Policies vary widely even within your local market, so it pays to consider your options carefully.
Pay varies widely, but be aware that minimum wage laws typically apply in most states, even if the theoretical value of the training you are being provided exceeds the value of the work you produce.
Photographers prefer to work with people they know. Many photographers have groups and local get-togethers from time to time. If you can "get in" with a group and simply get to know them, they will likely make you aware of second shooter opportunities when they become available. Cold calls are, as in any business, a low percentage proposition.
Get a competitive portfolio! You would not believe some of the garbage that some applicants have shown me. Personally, I don't care so much about wedding experience if I see some great portraiture and photojournalism. Other photographers may want to see actual wedding work. Either way, you need to get objective peer review! Submitting your work on websites like this will give you a very good idea of how pros will react to your port. Further, savvy pros will probably not be all that interested in your "mad Photoshop skills" as either they or their in-house design will most likely be doing the post-work anyway for consistency's sake. It is more important to show good fundamentals than lots of bells & whistles.
Demonstrate a familiarity with the style and work of the person to whom you are submitting! No one likes mass-emails! I'd be much more inclined to look hard at an applicant who identified specific shots of mine they liked, or identified a stylistic quality they appreciate. Flattery (within reason) works wonders on most artists. If I receive an obviously generic form-letter asking to assist/second, it gets thrown away immediately.
The more effort you put into your application, the more likely your success. Sure, email is fine these days, but writing a REAL letter, perhaps with one or two high quality prints thrown in demonstrates how serious you are about the position. I'm not saying that you want to spend a fortune making a flush-mount album for every photographer to whom you're applying, but if you know a position is potentially open, and you're serious about it, being more creative and applying some real effort could pay dividends.
Be persistent but don't nag. As I said, most of us have regular assistants and seconds. However, many are probably like me in keeping a roledex of quality shooters who have applied in the past, in case the regular help isn't available. Periodically renewing contact in a polite way will keep you at the top of the list.
