What exactly does the On-Set Photographer do?

The job of an on-set photographer is to shoot photos that help to advertise, promote and to sell a film. It is also to document the film-making process and the working relationships on-set.

We take most of the images that you see in magazines, on-line and on movie posters. Our photos are also used on social media, of course, but the job of an influencer is a separate task preformed by another crew member. This is a newer development and I haven’t seen much this on my jobs but others have.

A smaller part of our job is to help with any photographic props that may be needed within the film, although sometimes the prop (short for Property) department prefers to handle that alone if they are simple images. It’s not uncommon to work closely with the prop department in acquiring images that they need, ones that will show up on screen. Sometimes that means that we take fake family photos with the cast or very important key artwork. On The Secret Life of Walter Mitty, for instance, I was brought in before filming started in order to work with the Director and Production Designer to figure out all the photos that were important to the story. If you’ve seen that film you know that the main character is using photos as clues in order to find a photographer so these images had to be very specific. On a side note, the close-up image of a thumb with a ring on it is one of a small handful of times I’ve been in a film…it’s my thumb and was a self portrait of sorts.

What skills are needed to be a successful On-Set Photographer?

Besides the obvious photographic skills, one needs a few other traits to make it in this position. You need to develop patience and to be ultra observant, willing to wait for those “decisive” moments. It helps be be friendly and able to interact with all different types of people. Many sets can be crowded and space is limited. Having a working relationship with the people that must be there in order to film is very important.

If you are claustrophobic you may find this job very difficult. I often need to fit into small spaces and sometimes stay there for extended periods of time. 

Being well organized is very crucial, as you will be responsible for tens of thousands of images. 

You have to be adaptable and ready to change plans at any second. Film crews are always moving quickly and there are many factors that can derail the best laid plans. Pack light (yet be ready for anything) and always try and anticipate possible future scenarios.

How are On-Set photographers hired?

There are many different ways to be hired, but in my experience it mostly comes down to word of mouth. From the outside, the film business seems imposing. Don’t get me wrong, it can be very overwhelming, but overall it’s a much smaller group of people than there are in most industries.

Sometimes a call will come from a photo editor at a studio, other times a director or producer will ask for me. On rare occasions an actor is also involved in recommending you for work. 

Often, a group of photographers will be presented to a director, and they will look through all of the photographers’ portfolios. Sometimes they want to have a conversation with their top choice to be sure that you are a good fit. The Coen Brothers heard about me from their long-time producer and I had a face-to-face meeting with them. We talked about my work and my set experience and they took a chance on me. I will always be very thankful to them for helping me to get started in this position.

Is there any discussion with the director and/or the director of photography about what they want aesthetically so that you can match the same style? 

It varies with each job but normally the director of photography is easier to talk with about the look of the film because that is their main job and it’s what they are thinking about constantly. The director is usually quite busy with many different issues. Some will be excited in seeing your images and some may not. It’s always nice making a connection with those people on the crew that are highly visual people.

I am often allowed to view the dailies (unedited footage shot the previous day, but with a rough color grade that has been overseen by the DP) in order to see how the look of the film is progressing. I do try to match the feel of the project as everyone involved wants the images to represent their work and to be as true to their vision as possible. 

I will often know the shot they’re going for because of the lens choice, and will get some shots that are similar (in framing and lens length) and some that are more advantageous for a still image.

Sometimes I am given a list of scenes, or shots, in order to know that these are more important to the storyline, or for promotion use. That is a rare occasion at this point to get that as I’m on-set covering everything, but it does still happen.

Are you part of the camera department and are you in a Union?

Yes, photographers are part of the camera crew. In the US, its Territories and Canada most studios have agreements with IASTE : The International Alliance of Theatrical Stage Employees. IASTE is a collective of many local unions (more than 360 of them) and the camera branch is referred by their number, Local 600.

You must be a member of Local 600, to be on any crew that is a union signatory, which covers all the major studio companies but not always independently made, lower budget productions. Local 600’s website has more information on joining and they have BA’s (Business Agent) that are happy to answer questions, just call and ask. The requirement and steps to join can be complicated but don’t let that deter you, many others have figured to out and you can too! Local 600 is very helpful and want people to be involved.

The photographer is really the only member of the camera crew that doesn't take direct day to day orders from anyone on-set and works as kind of a lone wolf. Often they also work closely with the publicist and with the photo editors at the studio to acquire the shots needed. 

Do I need to live in NYC, Atlanta or LA (or a large foreign city) in order to work on big films?

No, you don’t but it certainly does help! It is the most important to be in a place that has the most opportunities and that also has the greatest need for what you have, skill as a photographer. Many people in the field of film-making move to a major production city when they are starting out and once they gain experience and connections move to another location, just traveling to where the right job needs them.

Do you only shoot when the actors are preforming?

No, some of my best photos are shot between takes.

Behind the scenes shots (BTS) are also an important part of the job as easily neglected because much of the crew is no longer as focused on the events at hand.

One good example of this is with the GREENBERG movie poster. It was only my second film as a full-time on-set photographer. In the poster, Ben Stiller is looking upwards and the poster designer added a thought bubble above his head. At that time, Ben was briefly looking up to see the shot on the camera’s monitor and I snapped it. The photo by itself isn’t very interesting but in the context of a graphic poster it worked well.

Are you allowed to shoot anything that you want to on the film set?

Yes, but within limit. You need to be out of the way of the crew, so that they can all do their jobs without interruption. You also have to be out of way of the actors. This sounds easy but often you want some shots that are close to the film camera, and thus in the actors eye-line. Each actor has a different comfort level with photographers and it sometimes takes a while to figure out that relationship. The photographer can shoot whatever they want (within reason) but they have to remember that respect and kindness always goes a long way. You must always remember that the movie can be made without two particular people being on set: the still photographer and the publicist. That is a way of reminding yourself to be respectful of everyone’s role and try not to be seen. It’s common that an actor will tell me that they didn’t even notice that I took a certain photo, or that I was there. When I hear that I know that my efforts weren’t in vain.

Do you only shoot with digital cameras? What cameras do you use?

Most On-Set Photographers shoot only digitally. I love film (B+W especially) and shoot both, the ratio being somewhere around 85% digital and 15% film. 

On Inherent Vice I did shoot some old, expired film stocks and more color film than normal, but that was a rare occasion because Paul Thomas Anderson was excited about it. On Carol I tried to shoot in a style appropriate to the time period, also taking into account how the character in the film might see things. A lot of my photos were used as props in the movie so I used film cameras from the time that the story was set. When the actor first saw the images that her character was taking in the story she said, “Oh, I had no idea that I was such a great photographer!” Another nice compliment.

I have always liked Nikons, but will use whatever it takes gets the job done. Cameras are tools, and digital cameras come and go quickly. Don’t get stuck in spending your time researching gear  when you could be shooting.

For film I often have a Hasselblad Xpan (ALWAYS in panoramic framing mode), a Mamiya 7ii, as well whatever else I fell compelled to use with at the time or what I feel will be a good match for the film that I’m currently working on.

What happens to all the photos that you take, and how many do you normally shoot?

It greatly depends on the circumstances of that particular shooting day. If it is an outside location I will often shoot more images than if we are shooting in a small interior set. I shoot anywhere from 300 - 1500 photos a day, but edit them heavily at the end of each day. Once or twice a week I will send the lab a hard drive of images from the past few days. Daily uploading is becoming more of the standard now so be sure that your internet service can handle it.

At one point each studio had their own lab, but that is rare now and there are just a few independent facilities that most people use. 

The lab’s job is to perform basic color corrections, to label each photo (with help from the publicists), and to organize the photos so that they can be viewed quickly and easily by editors and talent. 

Is your job fun?

Being an on-set photographer can be a fun job at times but it’s also not for the faint of heart. There are times that I travel to really inserting places and are allowed access to incredible locations. I’ve seen things that I would never have seen if not for this profession and met many wonderful people. It can also be exciting to be a part of a creative team, all working towards the same goal. Each project has a different life of its own as the people involved are constantly changing.

At the end of the day it is still a business and you have to remember that. Try to keep your emotions out of that side of the work and put that energy into making good photos. I’ve been promised jobs only to fall through time and time again for various reasons. I’ve been told by a Director, “ I want you on all my films” only to ignored by them on their next project. It’s just the way this circus of a job happens and you can’t take it personally. There are so many behind the scenes factors that affect decisions that it’s impossible to understand the factors. It is not a stable career, for the most part, and of course there’s always exceptions. Just be aware of that from the start. If you don’t have the personality for this type of rollercoaster ride then maybe you are more suited for a safer, more consistent type of photography job.

Do you have tips for aspiring On-Set Photographers?

You need to build a strong portfolio any way that you can. Work on student films and/or independent projects, even school and town theater groups. Tell people that you will work for free as long as you can use the photos to promote yourself. Volunteer, take classes, do whatever you can to get experience shooting on sets and with crews and actors. This will help you to get more comfortable working around larger productions. Learning proper on-set etiquette cannot be stressed enough. 

Showing people your work and getting feedback is a great tool. It doesn't all have to be set work, but the more experience that you have, the better. Only show your best work. This is where quality over quantity really matters. People don’t want to see five variations on one shot, just the one shot the looks really great. If you aren’t comfortable editing your own work or are unsure about what is your best work, ask other photographers, editors, publicists, that you get to know.

Let people know that you are looking for work and don't give up. Talk to IASTE Local 600 if that is the route that you want to pursue. Figure out who hires for the type of job that you want and talk to them, show them your work and follow their suggestions. Keep a record of who you talked to and try to keep them them updated once a year. Of course connect on social media as well.

Keep learning and educating yourself.  Look at as much other work as possible, past and current. American Cinematographer and ICG (International Cinematography Guild) are excellent places to start, as well as many on-line resources. There are hundreds of great books on filmmaking - study as many as possible. Used bookstores can also be a good resource. I go to as many as possible when in a new town. You never know what rare photo or film-making book you might find.

Be open to many different artistic influences, not just photography - it will all help to strengthen your eye and also to shape your own personal style. Find other artists that you like and study their process and their influences. Attend lectures and watch documentaries about film-making and photography and art in general.

Learning as much as you can about the motion picture camera, the lenses and also the lighting will also help you. Learning the craft of film-making is of great assistance. YouTube is your friend here. Ask questions of people that you meet and be open to learning what other jobs people to on set. Remember that most people like to talk about themselves so don’t be shy when asking questions.

Never put all your eggs in one basket…keep your photography income opportunities open. It may help you get through lean times and can also help to learn various skills which you can use later.

Keep a record of people that you work with and maybe some notes about them so that you can recall them more clearly later. It’s a good idea to check in with people that you liked working with or who you feel resonate with what you are doing. Maybe once or twice a year send out a short note or documentation of what you are working on (that can be personal work as well as professional) and let them know that you are also interested in their current lives as well.

When invited, go to social events with other people in the business and try to make contacts and new relationships. You never know where your next job could come from but think about it this way, the more a person hears, or reads, or sees your work, the more likely it is that you will be hired. That’s with the obvious assumption that your work is strong and you are professional.

It goes without saying that you should shoot as much as possible when you are not working on a job. Current technology is on your side in this respect and digital photos are cheap. Shoot a lot and shoot often. After that, edit without mercy and ONLY show your very best work. Some people find it easier to edit their own work after some time has pasted so they aren’t so emotionally connected to the image that they might otherwise mistake their feelings for the criteria of what makes a good image. reach out to people you know who have more experience if you need an outside opinion. This is a big part of refining your own eye, and your own style. Taking the photo is one skill and editing is quite another…both need to be given equal attention.

Remember that everyone finds their own path in this career and what works for one person may not work for another. Get in there and figure out your own path!

Best of luck - Wilson Webb