Where does the majority of your work take place?
Richard is a still life photographer so we are mostly studio-based. But we occasionally go out on location and work in bigger hire studios if the job requires it.
How collaborative is your role?
The process itself is entirely collaborative. Richard and I will work together on technical aspects of jobs but from art directors, producers, freelance assistants, editors, graders and VFX artists, to our in-house retoucher Jon Gibson-Skinner, (always there to cast an eye over a focus stack and work his magic in post-production) and our studio manager, Rebecca I don’t know how we would function as a studio.
What are the most and least enjoyable aspects of your job?
The most enjoyable has to be shooting. I love seeing the journey an idea goes on from being a drawing on a page to a physical structure, a still or a moving image. It’s why I got into photography. The least enjoyable has to be emailing!
Photography is an absolute passion for people in this industry and it’s an innate part of their personal life, too. I had to bail on a dinner last night because plans changed at the last-minute for a shoot we had organised outside of London. But that’s the nature of the job. At assistant level the best rule is to never make evening plans because you won’t be able to make them 90% of the time.
What has been the most exciting project of the last twelve months?
That’s a hard question – it’s been a good twelve months! I’ve been able to travel abroad and assist some great photographers. I assisted photographer David Sykes on the new Sainsbury’s campaign for Wieden+Kennedy which has just launched, but I’ve also been picking up some moving image work. I collaborated with Lucy Hardcastle on a Channel 4 title sequence with for a show called ‘Best Before’ and was Director of Photography on a project for Isabel+Helen that was directed by Ben Swanson.