GIVING CREDIT

Saluting the behind-the-scenes talent making movie magic.

ROB YOUNGSON UNIT STILLS PHOTOGRAPHER

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Rob Youngson is a unit stills photographer for film and television. He’s captured images for Belfast, A Haunting in Venice, The Great Escaper, Heartstopper S1 and Atlanta S3. He also shoots stills for posters. ‘An effective still image has to communicate a lot in a single moment. An onlooker should know the tone, the genre and who stars in the production within a few seconds. It should leave them with a question: what happens? The answer to which is always, to go and see the film. It’s the visual equivalent of a hook in pop music.’

How would you describe your job in simple terms?

I work with the cast and crew to capture striking still images during filming – without being a distraction or affecting the schedule. I work with the publicist to ensure I get the images needed to publicise the film. I also capture behind-the-scenes images, which highlight the collaborative process and anything unique about the production. I may work with the props department to take period-accurate portraits for set dressing. I’ve also consulted actors on how to use old-fashioned prop cameras convincingly.

How did you get into set photography?

I trained and worked as a theatre lighting designer while photographing bands on the side. Then I discovered that this job existed through an article in Nikon Owner magazine. It was an interview with Kimberley French [Brokeback Mountain, The Revenant]. I knew straight away I had to do this. So I went to work at one of the rental companies that hires cameras and lenses to productions. I cleaned the kit, loaded the trucks and got to know people in the industry. I used my leave to work on short films and then went freelance. Early on, I assisted an established unit stills photographer on some studio shoots. He then recommended me for a job he couldn’t take and that put my work in front of the right people to get hired again.

What’s the biggest misconception about your job?

That still images are screen grabs from the film. This is a widespread misconception, even within the industry. It doesn’t work for two reasons. The technical reason is that the common shooting frame rate of 24fps doesn’t freeze motion enough for those screen grabs to be printed at billboard size. The second and most important reason is artistic; what works well for a moving image doesn’t necessarily make a strong still photograph. Another misconception is that actors are difficult to work with. They are usually lovely. Actors have to step into a vulnerable place while surrounded by noise and crew and kit. They have to keep going to that place again and again for different camera angles. Part of what makes a good unit stills photographer is respect for the acting process. Sometimes my job is knowing when to step away and allow the actors space to work.

‘Sometimes my job is knowing when to step away and allow the actors space to work’

What’s been the most memorable moment on a film set?

Watching Judi Dench and Kenneth Branagh make each other laugh on day one of shooting Belfast. We had all been in lockdown for so long, it felt like a new beginning. It felt like photographing love and hope and friendship.

What’s the worst thing about your job?

Missing time with my family because I’m working away. Sometimes standing in a field on a night shoot, in February, in the snow, I start to question it. Those moments can feel tough. But a lot of the crew are in that same situation with you. Working on good scripts with nice people makes the time away from home, the long hours and driving, a lot easier.

What’s the best thing about your job?

Knowing that my images help stories to find an audience. Stories that take years of hard work and hundreds of people to get told. On set, the best thing is being witness to incredible acting, from both legends and up-and-coming talent. Seeing what the Heartstopper cast are doing for LGBTIQA+ representation right now is special. I’m also currently working with two incredible young actors. I am so excited for more people to discover their storytelling potential.

If someone wants to do your job, what’s the best route in?

Get on to set any way you can, in any role. Take photos across all genres of photography. Welcome honest feedback on your work. Don’t sweat the kit you haven’t got. You’ll get hired for your eye and how well you get on with people, not what’s in your bag. The necessity to work on low/nobudget jobs early in your career is a barrier to many, especially as a lot of opportunities centre around expensive cities. Screenskills and BAFTA have resources for helping bridge that gap – seek those out. Go and see as much art and as many films as you can.