Lesson Learned #8-Connections

The Importance Of A Network

In some respects, asking a still life photographer how to make connections is like asking Charlie Brown for dating advice. We tend to be an introverted bunch and unlike, let’s say fashion photographers, we often work alone in the studio. That being said, I am able to tell you that without connections in this business you’re a ship without a rudder.

I’ll let you know how I’ve managed to build up a network despite being a bit of a homebody. As I mentioned in Lesson Learned #3 - Assisting will be your most efficient inroad to building connections. It has recently been brought to my attention, however, that only New York, L.A., London, Paris and a few other large cities are uniquely able to sustain assisting networks large enough to build a community. If this isn’t available to you then… you should move! If that’s not feasible, there are some options.

I’m speaking only from observation and not personal experience on the following option but I’ve met and seen many photographers, including still life photographers, who’ve used social media to cultivate large followings while, more importantly, garnering the attention of enough art directors and editors to establish themselves. If this is something you’re good at then you’ve got a wonderful advantage and should use it. (Not my forte, but I’m learning.) Social media is a tool that wasn’t available when I was establishing my career (we used smoke signals, stone tools and clicking noises) but it is possible to build substantial connections through apps like Instagram, Substack, etc.

[Interesting side note: Almost all of the still life photographers I came up through the ranks with, even the really good ones, are relatively mediocre at Instagram. Not sure what this is about but you younger ones seem to have resolved the issue.]

My version of social media was to establish IRL friendships and networks of assistants through the day to day work of assisting and I think this is still valid. We would recommend each other, for example, if a job came up or if a photographer was looking for a second or third assistant. I used to meet with one particular group of assistants once a month. We would show each other our work, gossip and spur each other on to keep our courage up. As my network of assistants began to branch out on their own and begin their shooting careers, other connections began to develop naturally.

AN EXAMPLE: In my fourth year of assisting I had been working steadily with a fashion photographer who began to rely on me quite heavily. This gig was a great experience as he eventually asked me to do all his lighting and soon gave me carte blanche for all things technical. One of his clients, an art director for a now defunct department store (sigh), noticed my efforts and took me aside one day to say that when I went out on my own I should come see him. I did. I ended up getting several lucrative catalogue jobs from him. My assistants on these new jobs were friends of mine as well as new assistants getting ready to go out on their own and like me, were meeting clients on set just as I had. Simple as that.

One of the great things about establishing these early connections is that people eventually move on, change jobs, get promotions etc. and they tend to remember those they liked and those they could rely on. You definitely want to be that person. This is something you’ll need to keep in mind as an assistant before you start getting too cranky or lethargic on set when clients are around.

If you’re finding it difficult to break into assisting or you're in a small community without a lot of options, it can be worth offering your services free of charge. I realize this option won’t work for many people and it’s not ideal, however it can get you noticed. I’ve been talking to a lot of assistants, agents, editors, photographers etc. while working on this Substack and one story that stayed with me was told by a now very busy assistant who started out working with a top celebrity photographer for zero pay. (Similar to what I did, but I made $100 per week.) After a while the freelance higher ups started to notice his commitment and easy manner on set and enticed him away with paying jobs. “Come work for us!” Offering your services for free can be a way to build connections with this caveat; Only offer this option to people you admire, who respect what you are offering and always keep your eyes wide open to make sure there’s a future in your arrangement, something that will lead to better things.

Connections are a cornerstone in establishing your career. At first it can be intimidating to imagine what it would take to build up enough connections to go out on your own. The lesson I’ve learned is that brick by brick, each relationship builds upon another and if you stick with it, the connections begin to take on a life of their own. Nurtured with hard work and enthusiasm, one or two connections may soon turn into a supportive community.