[thephotointern]

Eat, Shop, Intern: Where & Why

We all know the importance of getting your foot in the door, but where exactly do those perfectly pedicured toes of yours belong? 

// <![CDATA[ var _giphy = _giphy || []; _giphy.push({id: '6WhX0EsQavdDO',w: 245, h: 150});var g = document.createElement('script'); g.type = 'text/javascript'; g.async = true;g.src = ('https:' == document.location.protocol ? 'https://' : 'http://') + 'giphy.com/static/js/widgets/embed.js';var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(g, s); // ]]>

  Now that the boys have filled you in on finding the internships and the interview process; I’ve complied this short list of the best places to intern at and that’ll turn that resume into a high roller.

  1. The Agency

Agencies are a good place to learn the ins & outs of production, creative marketing, business/industries standards, and meeting successful photographers.  In my experience smaller agencies tend to give you bigger responsibilities.  With a smaller staff you can quickly become acquainted with everyone sooner.  Not to mention there could be a chance or two for you to help out on set.  At the very least you get to stay cool during those dreadful summer heat waves.

// <![CDATA[ var _giphy = _giphy || []; _giphy.push({id: 'T74GX5HrdfrTa',w: 500, h: 282});var g = document.createElement('script'); g.type = 'text/javascript'; g.async = true;g.src = ('https:' == document.location.protocol ? 'https://' : 'http://') + 'giphy.com/static/js/widgets/embed.js';var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(g, s); // ]]>

2. Editorial

Magazines have always had that “ohhh” effect on most of us. [wow gif]  I’m sure plenty of us began our photo adventure flipping through the glossy sheets of a magazine, but which ones should we actually give our time and metro swipes to? In my experience the bigger names get the best reaction.  Smaller magazines have more creative freedom since their advertisers aren’t as involved, but the bigger mag can paint a better picture.  Not only would you be working alongside creatives that have been in the industry for years and are on the top of their game, but it can also help you picture yourself in a few years from now.  When it comes to gloss, go big or go home

// <![CDATA[ var _giphy = _giphy || []; _giphy.push({id: 'KHRQB12nlyG4',w: 160, h: 160});var g = document.createElement('script'); g.type = 'text/javascript'; g.async = true;g.src = ('https:' == document.location.protocol ? 'https://' : 'http://') + 'giphy.com/static/js/widgets/embed.js';var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(g, s); // ]]>

3. Photographer

Who best to teach you how to take your photos from crit and turning them into spending money, then the photographer who’s “been there, done that.”  The toughie with interning for a photographer is that you probably won’t be the only intern and there will probably be a first, second, and pet before you. Still, the best photographer you could intern for is the one whose work is closes to your style and interest.

// <![CDATA[ var _giphy = _giphy || []; _giphy.push({id: 'HERPK0y3aJ6eI',w: 314, h: 177});var g = document.createElement('script'); g.type = 'text/javascript'; g.async = true;g.src = ('https:' == document.location.protocol ? 'https://' : 'http://') + 'giphy.com/static/js/widgets/embed.js';var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(g, s); // ]]>  4. Studios

Take your minimum wage job at the cage and turn it into real life experience.  Most studios have interns run their equipment/grip rooms doing things you most likely already know how to do; minus the casual run ins with Karlie Kloss and Sean O’Pry. Oh and of course, the left over 5 star catering.

// <![CDATA[ var _giphy = _giphy || []; _giphy.push({id: 't2L7vQqVGcMYo',w: 498, h: 311});var g = document.createElement('script'); g.type = 'text/javascript'; g.async = true;g.src = ('https:' == document.location.protocol ? 'https://' : 'http://') + 'giphy.com/static/js/widgets/embed.js';var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(g, s); // ]]>

5. Retouching House

These might be the toughest to score, since they require you to already have a specific knowledge of editing software, but if you can actually use the magic wand tool successfully – flaunt it.

// <![CDATA[ var _giphy = _giphy || []; _giphy.push({id: 'yAHeAfHFbCcxO',w: 500, h: 340});var g = document.createElement('script'); g.type = 'text/javascript'; g.async = true;g.src = ('https:' == document.location.protocol ? 'https://' : 'http://') + 'giphy.com/static/js/widgets/embed.js';var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(g, s); // ]]>

  -L

[thephotointern]

HUMP DAY: The Interview Checklist

All right you finally scored that big interview after months of emailing and phone calls, you think “hey its time to take a breather” but you couldn’t be more wrong. This is go time people and if Morgan Freeman weren’t getting paid so much for voice overs, the next few days of prep would sound like movie trailer.

    No, I’m totally joking interviews are a relatively simple process. To make them even easier I have compiled a list of things you’ll need to do to be in tip top shape.

  1- Give yourself a high five

  You got your foot in the door and this is one of the most important steps!

  2- Research the company you are interviewing for

   Nothing is more awkward than being asked “Why do you think working with us would be a good fit” and not knowing anything about who you are interviewing with

  3- Think of potentially questions they could ask you

tell me about yourself

tell me about a conflict you have had and how you resolved it

what are you interested in doing after school

what is your familiarity with (insert various program or piece of equipment)

what do you think you could contribute

what is your best asset? (Hint: it’s not your butt)

etc…

  4 prepare questions you have for them

    5- Update/proofread your resume

6- Clean up your social media

7- Dress code

  It is always important to dress professionally; dressing up will never hurt you.

(But don’t get crazy)

  8- Be on time

9- Handshake

  A good introduction with a firm handshake is a great way to start off a interview  

And girls please make sure your nails, if painted, look professional (Manicures in NYC are 6 dollars)

  10- Eye contact

 Having appropriate amounts of eye contact is key. 

  11- Swag

    Bring resume, business cards and promos with you to every interview they are great leave behinds!

    That’s all folks!

  XX Brandon

[thephotointern]

Where to Find Internships

There are two routes. You can either intern for an organization or an independent photographer. Depending on what you want to do will determine the way you go about finding out if they are hiring interns.

If you want to intern for an individual photographer, you need to contact them directly. Before you do that, you need to know who they are and what they do better than they do. You need to have this information embedded. Be advised, you may be contacting their assistant or management.

If you want to intern for an organization, you need to do research. The best place to find internships is the internet. Below are the best places you can search for internships. For any login information to these websites, please message us by clicking the "ASK AN INTERN" link on our homepage with your name and RIT email address.

Be sure to search basic keywords in these website's search engines such as "photo," "photo intern" and or "creative intern."

LinkedIn

Indeed

Ed2010

Intern Match

Craigslist (seriously)

ArtJob.org

GraduateJobs.com

RIT Job Zone

RIT Alumni Association

American Society of Media Photographers (ASMP)

RAWB

[thephotointern]

Layout of a Resume

Think of the creation of your resume as a process.  The initial intent is to get down on paper what you want someone to know about you.  This is your time to brag about what you know, but keep it simple.  It should be a short, sweet, condensed single page document of your processional background.  At a certain point, you will be applying for jobs that are so specific you will be able to tailor your resume just for that position.

Tip: Make sure to choose a font and color scheme that is simple.  This will match the design of your branding which we will talk about later.

Your resume should have at least four sections containing your:

Education

Skills

Work Experience

References

Contact Information

Your contact information should be clear and legible at the top of your resume.  It should include your:

Name

Email

Photo number

Website

Education

Include any honors, awards, activities, GPA, professional associations, or anything else related to your education you feel important.  If you work while you're in school, you can put that here.  If you are transfer student, you should list your most current school (RIT) first and the school you transferred from second.  This should be formatted the same way as the RIT information.  It should include:

Rochester Institute of Technology

School of Photographic Arts & Sciences

BFA, Professional Photographic Illustration

Major:

Minor:

Concentration:

Skills

Here you should include what you know in terms of things such as camera formats, lighting, printing, retouching, processing, retouching, computer platforms, and computer softwares.  It is important to list your strongest skill-sets for the position you are applying to.  This is best presented as a bullet list versus lines of texted separated by commas.

Work Experience

Depending on the your background, you should break this into two or more sections, one that includes "relevant or related" experiences and one that includes your "other" experiences.  You want to to give a description of your duties with the name of the place you worked, your title, the location, and the dates you worked.  If you don't have a lot of work experience, you can include volunteeer work, activities, interested, travel, or even other spoken languages, anything you believe will help.

References 

References are people you have worked for which may include faculty members at school.  Be sure to ask permission before you use someone as a reference.  It should include the following:

Persons Name

Organization

Title

Phone number

Email address

- RAWB

[thephotointern]

#SquishFish.

Hi, my name is Lexii and I like coffee.  I’m a native New Yorker, fast-talking, heels clicking, and espressos on the go.  If you’re interested in living in NYC or interning there, let me show you around. 

Since sophomore year it became very clear to me that I wasn’t all that keen on becoming a shooter.  My parents are entrepreneurs so naturally I preferred the business side of photography.  Over my time at RIT and approximately 4,000 cups of coffee later; I’ve interned at six different places and juggled freelance work on the side to buy myself a few nice things.

Time Lapse: Summer between Freshman/Sophomore year How I paid for purses: Photographed at Joonbug

My first internship was at Complex magazine, a men’s music and lifestyle magazine.  My tasks here were pretty basic, a lot of image researching, purchasing stock photographs, and photographing street style.  The magazine runs a blog that is updated constantly throughout the day.  One of their biggest hits on the blog is their “list” section.  Here they’ll talk about things like the “50 best rappers of all time,” or “The 100 hottest women of 2013,” you get the idea.  As the photo intern, I would arrive everyday to my workstation with an email from the photo editor with the different lists of images I had to find before the end of the day.  I usually got around 10 lists a day, but each list had at least 20+ images to search for. 

Although the work here was fairly easy, since we all know how to resize an image on photoshop and make it web ready, I would say the biggest thing learned here was how to properly and quickly find and sometimes purchase content.

My Advice: Learn photoshop basics first and learn them well, also don’t be the person who gets lost in the Internet and takes forever to “google” something.

Simultaneously I was also interning at GO! Magazine, does that make me a celesbian? Anyways, here I got the opportunity to photograph a lot of NYC events with full VIP passes and press list for most nightclubs (#perks).  After my internship here I got hired on as a staff photographer.  I’ve worked with them every year since continuing to photograph NYC events like pride week and more exclusive events like fundraisers and benefits.  This past summer I even got to photograph and meet Lady Gaga, Cher, and the cast of Orange is the New Black.  You can see a small selection of my work for GO! here.

My Advice: Don’t turn down an opportunity that seems outside of your comfort zone, I got recommended for this internship from the person that interviewed me for an internship I didn’t get.   

  Time Lapse: Summer bet. Sophomore/Junior year How I paid for shoes: Staff photographer at GO!

That summer was really my, “yes, I definitely want to be a producer.”  I started off the summer interning at a production company.  They gave me really finicky hours and busy work that wasn’t educational.  So after 6 days of interning there I politely & properly, excused myself (I will further discuss this process in a later post).  Nonetheless with luck on my side and a new pair of shoes (who needs lucky pennies?) I began interning at Kate Ryan Inc.  Here I got to do a lot of hands on production work.  I was able to work directly with the producers and put together call sheets, invoices, and file for permits.  I also got to assist the creative marketing producer and together we updated portfolio books and artist promos.

My Advice:  If you’re only giving and not getting, ditch, your internships should be beneficial to both parties.  Also, try to incorporate what you learn into your own work. 

gif by Brandon Mercer

   Time Lapse: Summer bet. Junior/Senior year How I paid for fancy dinners: Staff photographer at GO! & Freelance PA work

This past summer was #sobazaar.  I spent the disgustingly humid New York summer hiding away on the 25th floor of the Hearst building.  Beside me were racks of designer clothes, advance copies of unpublished books, a ridiculous NYC-property-tax-worthy view, original Avedons, and a kitchen that offered unlimited coffee for free (#winning).  Here I worked on a lot of model go-sees, research for props, locations, and mood boards, portfolio requests from top agencies, and location scouts.  I even got to pitch a few ideas for concepts and locations.  My location pitch for the October cover with Miley was used.  I had originally scouted this location during ad project, see, hw does come in handy later on.  My time here was very pleasant and I got to see a lot of projects go from an idea on a post-it to a 6-page spread in a glossy magazine.  I also had a few run-ins with Terry Richardson; he looks identical to his pictures –no photoshop there (#nofilter).

My Advice: If you’re interning at a magazine it’s all about the detail, don’t misspell a name and don’t skimp on your research.  If you’re not sure or you just don’t know, ask.

  Time Lapse: Fall semester Senior year How I paid for car service: Staff photographer at GO! & Freelance PA work

I continued at Bazaar all the way until the end of January, but during the months of Sept-end of Dec. I also interned at North 6, the production mecca.  Here I got to work on some neat campaigns like the new #CoachNewYorkStories, Kate Spade Fall 2013, GAP 2014 catalog, and Maybelline to name a few.  On my first day I got to bring Steven Meisel his lunch on set, ask me for the celeb photog diet (#defnotslimfast).  While here I also got a chance to freelance for a few event productions, which was neat because event production is very similar to photo production, minus the camera and a lot more catering.  This being the last internship that I plan on having, I felt like it had to be a strong one and it was.  I got to see the intricate work that goes into producing from initial treatment to final billing.

My Advice: Being professional in the office can get you on set; establish trust first.

  I hope my tidbits can help you while you start or continue your interning spree.  Feel free to shoot any of us questions in our “Ask an Intern” box above.  In the meantime I will go back to figuring out this whole #hashtag thing.

-fish.

#Idonthashtag #seriously 

[thephotointern]

HUMP DAY: I am Brandon.

HUMP DAY 01:  Wait, so that’s what you do during the summer? We thought you went into hibernation...

Welcome to The Photo Intern, my name is Brandon Mercer. Sadly I am not nearly as funny as RAWB so people just generally call me Brandon. I have interned in many different parts of the industry including, video production, magazine production, video and photo assisting, and production over the past 5 years!

I started interning in Los Angeles for a video assisting company called Capture HD. During my time with them, we worked on various sets from music videos to commercials and web spots. My job as a Video Assist Operator (VOA) was to run cables to and from the camera and various viewing monitors around the set. As well as making quick edits to the footage so the director could see how it would eventually play on screen. This being my first experience on set, it was fairly overwhelming at first. Not knowing any of the equipment or procedures I decided to keep my mouth shut and ears open. Over the next two months we worked on everything from Katy Perry's Music video for California Gurls to McDonald's Commercials and Toshiba web spots. Off set we visited digital design and special effect studios such as Ring of Fire as well as equipment rental houses.  This was an incredible experience and such an awesome introduction into the industry as a whole.

  The summer between Freshman and Sophomore year, I was having a lazy summer at home when the opportunity to work on the film Tomorrow You're Gone, that was shooting locally, presented itself. After a day of being a production assistant I was pulled aside and asked to be the main characters stand in. As luck would have it I was the same height build and over all look of Stephen Dorff, who played the leading role of Charlie Rankin. Over the next few weeks I got to experience a completely different side of the camera and was fortunate enough to work alongside some truly incredible actors, including Willem Dafoe and Michelle Monaghan. (I KNOW RIGHT!? I had to restrain myself from fan-girling as I plunged a prop knife into Willem's stomach repeatedly for one scene) Being a stand in requires that you know the script and blocking of your character. The crew utilizes you to make sure that the camera movement, focus pulls, and lighting are all on point by the time talent gets to set so their take can run smoothly, free from any technical hiccups. This experience showed me the importance of being familiar with the responsibilities of the people working around you. By being an actor I was able to fine tune why being a PA was so important and better ways to do my job in the future.

  After realizing the benefits of understanding the people you work with and how they operate, I decided to continue on the same path by interning for Allure Magazine and Studio D at Hearst Corporation. I figured what better way to learn about who I would be working for as a photographer, than to experience what they were looking for in the photographs they chose and photographers they hire.

At Allure I worked with an incredible team of people inside the photo department and out. I had various tasks, the most frequent being photo research, however each task I was given was relevant and needed. You may have heard horror stories about interns being stuck working terrible hours with mind numbing busy work. This could not be more far from the truth in my experience. Working at Allure solidified that being an intern is being part of a valuable support system. Each job they gave me genuinely needed to be done, and allowed them to focus on more pressing and important deadlines. This in essence meant that my job allowed them to do their job better, faster, and more efficiently. I was horrified when I heard that Conde Nast would no longer be offering an internship program, not because I felt that it was unfair, because in all honesty it makes complete sense in regards to the liability they are now facing, but because no one else in the future would get to experience all that I had learned from interning there. Working at Studio D was my first experience assisting specifically photographers. On any given day you could either be assigned to one specific set or making sure that each photographer had the various equipment set up or broken down that they needed to complete their job. This helped me learn the ropes in regards to assisting, onset etiquette, as well as honing the ability to know what someone will need before they ask you for it.

  This past summer all of the previous internship experience and knowledge I had gained was put to the test. I assisted one of the most incredible photographers I have ever had the pleasure to work with, Mariano Vivanco.  As Rawb pointed out it is important to “Be invested in the work you are producing with your photographer.” This could not have been truer, assisting Mariano. This was a chance to be involved and catch a glimpse of what I hope to be doing in the future. Everyday I was learning something new about not only being a photographer but how they interact with everyone on set as well as to what it takes to be an assistant in the fashion industry. Thankfully I had two awesome mentors throughout the summer to help me, should I have came to a problem I had difficulty solving, JD Forte and Maximillian Menacher.  

  (Wait Brandon are you really saying that it’s ok to make mistakes? That’s right people it happens but it is how you deal with it that counts.)  Not knowing how to do something or messing up is every intern’s biggest fear, but in all honesty what is important is that you learn from your missteps, and be sure not to repeat them.

   We worked with a range of clients from Vogue to Muse and Net-a-porter,among others. Each set was a different experience; from shooting on location to in studio the procedure was altered. Knowing how to adapt at a moments notice was crucial, weather among other circumstances required quick thinking and a sense of cunning in order to efficiently eliminate a problem or even a potential problem. Interning last summer was incredible I worked with some of the most driven individuals I have ever met and truly some of the best.

Well that’s the quick and dirty of each experience! We will all elaborate on our experiences in the posts to come, so be sure to check back in each week as we discuss our own tips and tricks for finding, securing, obtaining and maintaining an internship.  Please feel free to ask us any questions in our ask box above and we will be sure to do our best to respond with something helpful!

  XX Brandon

[thephotointern]

Hi, my name is Robert but people call me RAWB.

I spent this past summer in NYC interning at Milk Studios and for still life photographer Lisa Shin.  For Lisa, I assisted onset, reviewed images tethering, ran props back and forth from stores to the studio, ordered food for everyone on shoot days, went on coffee runs, answered the phone, took notes, printed two portfolios for a show, and made sure the studio was well kept.  For Milk, I built up and broke down lighting carts photographers and their crews would rent for the day with their studio space.  In the middle of the summer, they offered me a freelance position with a day rate of $150. My advice: Be invested in the work you are producing with your photographer (it makes it that much more fulfilling) and if you're going to work at Milk, be ready to work long hours.

I learned quickly I didn't enjoy working in-studio so I searched architectural photographers in the area and landed an assisting job with David Sundberg.  David works for Esto Photographics, Ezra Stoller's architectural photography firm.

Esto is a photo agency specializing in images of the built environment. With assignment work and a comprehensive picture library, they connect photographers and their work with designers, publishers, and others interested in the photographs.

My experience taught me that even if you are unsure of what you are doing, to try.  You are in school to find out what you like and what you don't like. If I didn't get myself to NYC that summer to try working in these studios, I wouldn't have had the opportunity to do what I wanted and make the connections I did along the way.

I hope The Photo Intern gives you insight of what you are looking for and how to find it.  If you would like to contact me, email me at [email protected]. RAWB