rlord reports

by Richard Lord, Photographer

OK--I’ll be immodest. I have over 20 years experience doing location/people photography. I consider myself to be expert. Here’s an article drawing upon my accumulated knowledge.

Location photography, when performed outside of the photographer’s home turf, requires a local person to facilitate the project. This person could be called a fixer, an assistant or a production coordinator, depending upon the utilization of the images to be created. When working with a local non-profit agency or a corporate foundation, this role often is played by a secretary/driver etc. When I hire the fixer, it is a professional journalist.

Often, the client selects the fixer. This article is directed to assist in the selection of the fixer as well describing his/er functions. My clients are contractually required to supply (or reimburse me for) a fixer. Many of the recruits have never worked with a professional media photographer. They do not have the neither the experience nor the intuition that is provided by a trained fixer. Nor are they familiar with a pro’s needs. In the Third World, often neither the client nor fixer has ever seen a professionally created photo.

Recently, a discussion entitled "What Makes a Good Fixer?" appeared in Lightstalkers, a website for working media photographers. It was excellent. Here is a summary of the threads which appeared.

First, an operational definition. Fixers work with photojournalists. Depending upon the nature of the assignment, this job can entail a security function. This is especially true when working in slums, in combat or with socially ostracized populations, such as drug abusers. Fixers can be a lifesaver, such as Dith Pran, who was immortalized in "The Killing Fields." A current documentary, "Fixer: The Taking of Ajmal Naqshbandi" explores the job.

An assistant helps with location photography in secure locations and should have a working knowledge of professional photography techniques, e.g. lighting. A production coordinator specializes in high-level produced shoots, such as corporate and advertising. His/her responsibilities include location selection, model recruitment and management, wardrobe and grooming, etc.

For this article to be concise, I refer to "fixers." However, the reference could be to any of the three roles. Which title is appropriate is determined by the nature of the assignment.

See the below suggestions as an introduction to the photographer’s needs. It should be shared with the local contact person.

The respect given to the fixer varies. In the US, they are behind-the-scenes and are never recognized. But, per Tomoko Yamamoto , a Japanese multimedia artist who works from Vienna, "in Japan, a fixer is called a "coordinator." When published...the name of the coordinator appears along with the photographer."

Tobie Openshaw, a Taipei videographer, added "a fixer is a communicator who provides access...to make the project happen.

"The person needs to know the local culture, customs and regulations to get you in the door and out of trouble... (S/he) needs to grasp very clearly what YOU want to do and communicate that to others when required. And know where to get a meal and a drink that won’t upset your stomach nor your wallet.

Regarding security concerns, Will Seberger, a Tucson-based photojournalist added that the fixer must have "the ability to ‘smell’ when a situation is turning bad. Must have actual connections with the subjects/people/issues to be covered."

My thread? Here it is:

The fixer must have a very good command of spoken English. Speaking the local language is never a problem. However, I've had to dismiss numerous fixers, who were recommended by my clients, because their English is sub-par. If possible, talk with them on the phone before confirming the gig.
They don't bring friends to accompany them on the shoot
They clearly understand and accept their "bodyguard" function in high risk areas e.g. slums. It's simple -- they don't walk in front of you, rarely alongside, almost always behind.
They do not direct the actions of the photo subjects. Usually, this means not even speaking with the subjects, unless you ask them to interpret instructions.
They are active in "crowd control" -- discouraging onlookers while you're shooting.
Should own a basic digital camera. With it, they take the model release ID photos. If there is location scouting required, they should e-mail to the photographer their photos of suggested shoot locations before the photographer leaves home.
Either the fixer or your driver should be willing and capable of helping to carry some of your equipment.
They are not to photograph on the shoot. It distracts the photographer and intensifies the subject's anxiety. When this is unavoidable, they must understand that they shoot only after the photographer has finished a scene. Also -- they should not expect to get a photography lesson -- asking the photographer why s/he did what when, etc. They have to allow you the space to keep your thoughts without interruption.

Richard Lord is the author of this website. A corporate and stock photographer, he also supplies non-profit organizations with images for their appeal posters, annual reports, etc. He has worked in this specialization since 1988 and has photographed in over 70 countries.