From Photographer’s Assistant to Pro Photographer: A Career Journey

Editor’s Note: At Format Magazine, we love hearing first-hand accounts that explore the real work behind careers in creative fields. For this month’s feature, we’re honoured to have Alexander Karlov, a wildly talented fashion and portrait photographer as our guest contributor. In this piece he shares his candid journey from holding his first used camera to assisting the industry’s top names, to breaking out on his own as a fotografo professionista.

The Path from Assistant to Artist

The origin of my passion for photography is difficult to pinpoint. In high school, I was always the one taking photos and videos of my friends. I was always drawn to art, but more interested in photos than painting.

The start of my career in photography began in the summer of 2015 when my godfather lent me his Nikon D300, and I was fascinated. I loved holding the camera, playing with its settings and lenses, and I adored the sound of the shutter; to this day, a loud mechanical shutter is music to my ears. 

After that experience, I bought a used Nikon D70 with a 50mm 1.8D lens for around $250 on eBay. For beginners, I always recommend starting with an old camera. You learn to work carefully and precisely, to adapt to extreme situations, and when you eventually upgrade to more expensive gear, you’ll truly understand what you’re paying for.

With my new camera, I started by immersing myself in the knowledge shared on YouTube. Initially, I only photographed the city and objects, rarely people. But I remember my first client, I met him at a party where I exaggerated my photography experience, and he later hired me for a few quick portraits, paying me $80. That $80 then felt like a thousand dollars then. Even though I wasn’t happy with the images, I felt a sense of pride for earning money with my camera.

This newfound hobby was abruptly cut short by my parents. It was my last year of high school, and I had to devote most of my time to studying for exams so I could successfully graduate. After high school, I got into a university in Montreal to study Finance and Economics, something  I wanted to pursue at the time. I was lucky to have great professors and was deeply invested in my studies and the prospects of a career in finance and my first year went well. My photography hobby moved far into the background, although I still thought about it occasionally.

I later grew frustrated with my studies and the entire educational system, curriculums were full of redundant information and it was hard not to see it as a waste of time. I was inspired by this frustration to pick up my camera again, but this time with a sole focus on portraiture. I no longer cared about urban photos or still life—just people. 

Initially, it was just photos of friends or people I messaged on Instagram who agreed to shoot with me. Later, I began working with models from modeling agencies. With no money for workshops or masterclasses, my knowledge came solely from watching countless YouTube videos and experimenting.

I slowly dived deeper into my hobby. After amassing a small portfolio and an Instagram following, I started getting a few clients here and there. It was probably just two or three small paid shoots, but they gave me a few hundred dollars of spare money. My parents later found out through my godfather that I was devoting a significant amount of time to photography, and it was a huge scandal. They wanted me to focus solely on my studies and believed photography would distract me and have an adverse impact on my university work (to be fair, that’s exactly what happened, haha). 

I remember my dad telling me to throw out my camera, which infuriated me. It created a big rift in my relationship with them, but many years later, I realized their lack of support wasn’t intended to be negative and discouraging. They simply wanted me to be successful on the path I had started. They came from a generation where a university education and traditional jobs were seen as imperative. They fully support me now, and there is love and harmony.

Landing a Photography Assistant Role or Apprenticeship

I didn’t fully abandon my hobby or my university studies either, as I was already halfway through and had made a promise to my mom that I would finish. However, I needed a better understanding of my vocation. Switching degrees was too late and unnecessary. I knew that most famous photographers and movie directors never received a university education. That doesn’t mean it hurts or is useless—I know many photographers who have a degree and don’t regret it. I just think it isn’t necessary to develop the skills of the craft.

After reading the biographies of many acclaimed photographers, I realized one thing: many of them assisted other great photographers, and that’s how their path began. The legendary Steven Meisel assisted Richard Avedon; Mert Alas and Alexi Lubomirski assisted Mario Testino; Lachlan Bailey assisted Mert and Marcus; Mario Sorrenti assisted Bruce Weber; and Michael Jansson assisted Richard Avedon. The list goes on.

I knew a bit about Montreal’s industry and its most acclaimed photographers. I picked my top three, including my favorite, and decided to reach out and ask if I could assist one of them part-time. I focused on my primary choice, a photographer named Richard, because I liked his style the most. I would message him once a month on Instagram and email him, asking if I could grab coffee and maybe interview him—not for a job, but to actually ask him some questions. I think he’d heard about me from someone, and we also had many mutual followers. 

After many ignored messages, he kindly replied to me on Instagram, he was very nice and apologized for not replying earlier. He was obviously a very busy guy, so getting him to sit down with me meant being persistent. For a few more months, we simply exchanged texts.

One day, he called me unexpectedly and told me he was downtown grabbing coffee and had some spare time. I made the time. I interviewed him for about 30 minutes. When we finished, I pulled out my small portfolio and asked him if he needed a part-time assistant. This was always my plan—the interview was a way for him to meet me and see my work. 

Richard looked at it, asked a few questions, and told me he would decide in a few months after I returned to Canada from a trip to see my family. Once I returned he accepted my offer to work for him. Coincidentally, the same year, I also worked with Nikon Canada, which for me was a huge privilege and achievement.

If these two occurrences weren’t a sign, then I don’t know what would have been. I realized I couldn’t devote myself to both finance and photography, I had to pick one and make it my focus. I understood that photography could be my career, and I could be good at it. From that moment on, I decided to follow my passion. I continued my finance degree since I had only two years left, and photography could be done part-time, but I no longer cared about my grades and admit that I devoted minimal attention to university.

My First Time on Set as a Photographer’s Assistant

My first day was scary. Richard invited me to a small, full-day shoot where he was taking model tests for an agency with four of their models, and I was the only assistant. I was shaking when I entered the studio. Although I had met Richard before, I had no clue what he was like on set. There are some unpleasant rumors in the photography world about how intense the atmosphere on any set can be. I was preparing myself for a Gordon Ramsay scenario.

That preparation was unnecessary. After multiple years of assisting Richard, I can say he is one of the nicest people I have met in my life. I had to be directed a lot as I didn’t know how to do many things or how to properly assist, but my first day went well. It was just moving small equipment, holding a reflector, changing lenses, and backing up images to multiple hard drives. 

After that day, I became his regular part-time assistant. It was mostly an unpaid internship, but it was only two to three times a month since he shot a lot in other cities and it was flexible. He knew I was a full-time student, so if I sometimes couldn’t show up, he wasn’t bothered. After all, on big shoots, he had actual professional assistants, light technicians, and digital technicians. But 99% of the time, I would show up—I would even skip exams to be on set with him.

Some shoots were relatively easy, as they were small-scale, while others were long, full-day productions with giant teams and lots to do. Each type had its challenges. On small ones, I was often the only assistant, so I was the one managing file backups, moving most of the stuff, handling equipment, and bringing coffee. 

On big commercial productions, I was the third or fourth assistant, as there were professional assistants whose full-time job it was. My knowledge of lighting and technical aspects is tiny compared to theirs. Those days were tough, as you would move around non-stop. You always had something to do, even if it was just bringing coffee or taking behind-the-scenes videos.

I can remember two of my most challenging days trying to balance my professional career and academic performance. One was a campaign for a major Canadian clothing brand. The shift lasted from about 6 a.m. to 7 p.m. We were shooting outside under a scorching sun, and it didn’t even cross my mind to get sunscreen or a baseball cap. It was unbearable and I’m pretty sure I was close to sunstroke. The resulting sunburns left me with a fever for the next day.

The second day was a shoot in a luxurious hotel for an editorial with a young Netflix TV show actress. I was the only assistant and had to run around nonstop, helping multiple people, and needed to consistently be on hand to the photographer. The problem was that the night before, I had slept for only three hours because it was final exam season, and I was also feeling dizzy after a vaccine shot. 

On top of that, I had an important online finance exam right after the photoshoot. We finished later than expected, and I didn’t even have time to get home, so I basically wrote my exam in the hotel lobby. After that, I had to prepare a presentation for another class until 3 a.m., and then the next day I was assisting again from 6 a.m. to 7 p.m. After those two days, I was close to passing out and eventually slept for 13 hours. Even though some days were tough, I still loved it. I was learning a lot and was happy about it.

In a fast-paced environment like this, one of the main things you learn is to work quickly and efficiently and how to be creative and problem-solve any issues that arise. You have to constantly monitor things, pay attention to lighting, make sure the photographer is comfortable, and predict their every move. 

Of course, I learned a lot about different gear, lighting, and technical details, but another essential lesson was communication on set and how a photographer talks and engages with everyone, especially the subjects. I could observe all of this in close proximity, right in front of the main action, and I also got to ask questions and get advice from an acclaimed artist. A lot of this knowledge was later incorporated into my work. How can any university education top that?

Learning from Experience as an Apprentice Photographer

Before working with Richard, I didn’t even know the difference between some of the roles on set. But after working with him, I realized how essential a skilled team is for a great result. Your final images will only be as good as the skill of your team. It became clear how much work is put into this process to achieve something remarkable.

I remember a stylist brought like 10 stunning, insanely big and intricate dresses to the set, and only later did I learn that it took two to three days just to source them and then two big cars to bring them to the set. Lighting technicians, digital technicians, and assistants were also paramount to the whole process on big productions. Photographers simply don’t have the time and enough hands to set up and change lighting constantly when you have countless looks to photograph, back up data, and tether photos so that the clients can see them. 

Pre-production was not something I directly observed, but the photographer explained things to me, and I understood that there are sometimes days of discussions, planning, logistics, casting, and creative decisions made before the shoot even starts. You can think of a photo production like a mini-movie production.

Overall, your job is to make the photographer’s life easier, be invisible yet always present, anticipate the artist’s needs, and make sure they have everything they need.

While my time as an assistant didn’t give me a lot of close connections because in that role, you are an invisible helper, you’re focused on supporting the creative team. It’s also an unspoken rule not to promote your own work while assisting someone– it’s something you can easily get blacklisted for. 

If you’re assisting as an intern, you are there to learn, non to get new work for yourself or steal a client. Nevertheless, I did meet a few people while assisting with whom I later collaborated. When colleagues recognize me from my days as an assistant, it gives me more credibility in their eyes.

Transitioning to being independent and working for myself was a natural trajectory; while I worked as an assistant, I always had my own projects on the side. This was just the closing of the loop.

The years on set assisting an acclaimed artist have had a profound impact on me. The most important general skills I learned while assisting are the importance of communication with subjects, networking with colleagues, and being able to quickly problem-solve. 

I also picked up different lighting techniques, became familiar with roles on set, and learned a bit of the business side of our industry. Those years changed me as an artist. I have gained a profound respect for our artform, an attention to detail, and an insatiable desire to create new images and evolve as a photographer.

– Alexander Karlov

Want to learn more from Alexander? Read his member profile in Format Magazine.

From Format: Passion, Persistence, and a Sustainable Photography Career

The path from assistant to artist, as evidenced by this journey, is not just a straight line, and it may not be for you either. What is most important, and what feels consistent to stories from other artists, is passion, persistence, and an insatiable desire to learn necessary to even take the first step. Formal education can be valuable, but it’s often the hands-on experience that truly shapes a professional.

As an aspiring photographer, your origin point doesn’t have to be a prestigious school or expensive gear; it can be an old used camera, a dedicated dive into YouTube knowledge, and a commitment to simply photographing the world around you. Alexander Karlov’s journey highlights that a successful career in photography is built brick by brick: by being present, anticipating needs, problem-solving in real-time, and constantly seeking to understand the immense collaborative effort that goes into a truly remarkable image.

By embracing the role of an assistant, you can directly observe and learn from the industry’s inner workings—from the complex logistics of pre-production to the essential art of communication with the subject. This experience cultivates respect for the craft, attention to detail, and the essential ability to work quickly and efficiently.

Career Takeaways for Aspiring Photographers

• Start Simple and Learn the Fundamentals: Don’t wait for the newest, expensive gear. An old camera forces you to be precise and resourceful, making every future upgrade more meaningful.
• Embrace Relentless Self-Education: Treat platforms like YouTube as a university with free admission. Your knowledge base comes from watching, experimenting, and repeatedly testing your skills in the field.
• Prioritize In-Person Experience: Be persistent in reaching out, and once you land the role, be the most proactive and invisible helper on set. You are there to learn, support, and absorb everything.
• Master the Art of Communication and Networking: Technical skills are crucial, but success hinges on how you engage with subjects and build respectful, professional relationships with your team and colleagues.
• Balance Ambition with Respect: While assisting, the focus is solely on supporting the main photographer. Always maintain professional conduct and an unspoken rule: no self-promotion on their set. Your work happens in your own time.
• Cultivate Resilience and Efficiency: Be prepared for long days, unexpected challenges, and the need to problem-solve creatively under pressure. This is where you learn to work quickly and anticipate the needs of the entire creative team.

Your Next Step: Showcase Your Evolution

As you transition from learning and assisting to creating your own independent body of work, the way you present your portfolio is paramount. Your website is your professional gallery.

Now is the perfect time to curate a cohesive, professional online presence that reflects the artist you’ve become.

Start building your professional portfolio with Format today. Turn your images into an organized, powerful showcase that speaks for itself.