
How Zach Anderson Navigates Tandem Productions Through His Adaptability and Strong Interpersonal Relationships
Working as a stills photographer alongside a motion director requires our artists to be nimble and adaptable while still producing the highest quality content. Oftentimes it means the creative being out of their hands, so being confident in their abilities to shoot in different styles and environments is imperative. Zach Anderson has been the photographer for many piggyback shoots and thrives in tandem productions. Zach attributes it to being able to balance creativity with efficiency, particularly when juggling tight schedules and overlapping responsibilities.
We spoke with Zach about his experiences, and he explained how his ability to adapt and work fast has been an asset in these high-pressure scenarios. His approach involves forging strong relationships with directors, maintaining continuity across visual elements, and ensuring that both teams capture what they need without stepping on each other’s toes.
What’s your approach when working in tandem with a motion director?
Initially, I focus on building a relationship with the director to understand how they work. I like to share my workflow so we figure out our combined strategy ahead of time. On set, the structure can vary. Sometimes, we will divide and conquer - I’ll set up one scenario while they handle another. Or, If the schedule’s tight, I’ll shoot from a long lens, over their shoulder, to stay out of their frame. Shooting in tandem requires flexibility because each shoot and each director will have different needs.
What are the advantages of shooting in tandem versus separate stills and motion shoots?
The main advantage is continuity. Everything looks cohesive because we’re working in the same environment with the same lighting. It also can help save money in a budget. Instead of having to do two separate shoots, I’m able to capture all the desired stills on the same days as the motion production.
How do you ensure you’re not duplicating efforts on set?
If budgets allow, I like to have a line producer who coordinates with the Director or AD. This helps to make sure everyone is on the same page. Having multiple assistants on set also helps keep things moving by setting up future scenarios so I'm free to work on something else. These shoots are fast-moving - we are always working on something - so having a solid team makes it run much more smoothly.
How do you adapt to capture unscripted moments during production?
I use a long lens to shoot around the director during unscripted moments. If there’s a seamless setup for portraits, I’ll jump in quickly. There’s no sitting around—it’s constant movement and coverage.
I think it’s also helpful that on any shoot, I’m not using strobes so I’m able to just jump in when I see a moment to be captured. I’m not worried about the lighting set up and can get the unscripted shots alongside the video team.
What advice would you give photographers preparing to shoot in tandem?
Roll with the punches. Anything can change on set, and you have to be flexible. While the motion team’s setups take longer, you should always be shooting—whether it’s details, behind-the-scenes, or unscripted moments. The key is to stay proactive and adaptable.