Yes, when needed for commercial assignments. Not in personal work.
What do you require of an assistant?
Assistants send in resumés, listing the equipment they know, who they assisted for, and other technical information. That kind of knowledge and experience is good but not what I pay attention to. I look for the assistant who understands the nature of sacred work–who can create a sense of calm in an area I am about to photograph in, who can iron out tension, soothe a person who is a little nervous or apprehensive. Someone who can establish a positive and trusting mood during the shoot. And of course, that person also gets model releases signed.
What do you say to someone starting out in photography?
I say there is nothing more meaningful than being true to yourself and finding your voice. I say follow your heart, and it is okay to starve a little. What you will gain is far more than what you will lose. And, don't let anyone discourage you. For inspiration, I offer a poem by Lawrence Ferlinghetti:
Don't let that horse
eat that violin
cried Chagall's mother
But he
kept right on
painting
And became famous
And kept on painting
The Horse With Violin In Mouth
And when he finally finished it
he jumped up upon the horse
and rode away
waving the violin
And then with a low bow gave it
to the first naked nude he ran across
And there were no strings
attached
Do you have any advice for the amateur?
I suggest cultivate a dialogue with your inner voice. As much as possible, stay away from the establishment. Listen to the clues your own images will offer, the resulting work will be fresh, and authentic. Fall in love with your world, shoot a lot, and technical problems will straighten themselves out. You can violate all the artistic principles and still produce strong and vibrant work.
Also, don't chase after expensive equipment. Good photographs can be made with very simple cameras. And if that camera has a flaw, learn to use the flaw artistically to your advantage. Plastic cameras with plastic lenses are often given to prisoners and homeless kids, who make terrific images with them.
We don't ask writers what kind of typewriters they use, because great ideas have nothing to do typewriters, and good images have nothing to do with fancy cameras.
Why discourage guidance from established photographers?
At the beginning of any effort, a student seeks guidance and affirmation, and engages those in authority for feedback. I have seen gifted beginners lose their way trying to please their teachers. Teachers have good intentions, but invariably influence the student in a manner that causes a shift away from the student's own center, or imprint their own vision onto the student.
It is vital for any artist to nurture and protect that which will make their vision unique. If the student learns to go inward instead of outward, and learns to trust their inner guide, they will preserve their identity. The best teacher will empower the student to find answers from within.
In my early days, I did not take photography courses because I could not afford them, but I once attended an afternoon workshop providing feedback from four internationally renowned photographers. Tables were set-up, one for each guest photographer, in a large auditorium. Students formed lines in front of each table, and took turns showing their work. I had brought four photographs and saw each photographer separately. At the end, I was surprised that each cared for a different image, and found fault with the remaining photographs. If each expert had been my teacher, I would have pursued four different directions, and lost my way.
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