Nikon Pro Magazine published an interview with me and other two fixers about what it takes to make a shoot happen. "The guys behind the scenes who make it all possible and speak to three of the industries top fixers. "
The magazine is available in English, French, Spanish, Italian and German. The international circulation is 75.000 and can get the ipad edition.
Fixers help foreign journalists, photojournalists and TV crews to get a story. They also often function as production coordinators so their responsibility is huge. Finally they have to safely get the journalists and photographers out of the country. Often the success of an assignment depends on the experience and flexibility of the fixer. I have been working on different projects as a fixer and documentary photographer. My clients usually find me on the internet via social media sites like Lightstalkers, Facebook, Twitter or they come across my blog. I cover mainly humanitarian issues such as land mines, displacement and migrant workers. I worked on a documentary film on child labour, which won several international prizes. Currently I am researching an investigative journalism story on human trafficking. The research I do involves everything from data collection, location scouting, liaison with local authorities and NGO’s, film companies, arranging licenses, choosing interpreters set up appointments to the coordination of local crews.
Local knowledge is of course hugely important when working as a fixer, but you need a wide range of other skills as well. Good communication, being organised and speaking the relevant languages are a must. It’s an advantage if you have a background or knowledge in social studies, journalism and photojournalism or the film or travel industry. When starting a project, you must be sure that you can deliver what your client expects you to. You must know the country and the area and know the local culture and customs inside out. It is very useful if you have well-maintained government contacts, which make it a lot easier to secure documents and licences. Contact with travel agents, shipping companies, embassies, the expat community and reliable local helpers are also important and being able to arrange accommodation, transport, bodyguard and interpreter services is essential.
But more than anything you need a very good nose for when a situation is turning bad. When I set up a journalist with contacts, I first do some research to make sure the source is reliable and then negotiate an agreement. I mainly work in Cambodia, where there is no absolute freedom of speech, but locally published foreign papers sometimes strongly criticize the government. Luckily the foreign media isn't demonized here – in fact, many Khmer people prefer to talk to foreign journalists, because they believe an article or a broadcast in English or French has more power then one in their local media. They know the value of independent foreign newspapers, which can bring the attention of the world to the issues that concern them. It is very important that the sources feel they can trust me, but this isn't always possible – some of my contacts are too afraid to cooperate. I always explain the importance of the mission in great detail, because they have to understand what I am talking about and that I am not their enemy.
Working as a fixer can be dangerous, but you can minimize the risk by getting adequate and reliable information. It is worth keeping in mind though, that journalists leave once they get their stories but fixers stay behind, so both have to understand each others’ rules. Fortunately my clients care about my opinion and usually act upon it. However that doesn't mean there weren’t any close calls.
My advice to anybody who would like to be a fixer is to discover the country you work in and learn as much about it as you can. Develop your local knowledge and contacts. Maintain good relationships with people who you think can help your business. Read and listen to the local news and be up to date on what is going on around you. And be honest to the people you work with. If you are a photographer working with fixers, you need to get as much background information about your fixer as you can, including personal details. Hire them only if you trust that he or she understands what you need. When working in developing countries you have to take into account bureaucracy, corruption and slow procedures, so choose the fixer you think can handle this well. Provide detailed information about your project in good time. If you are dealing with sensitive issues and the assignment is getting dangerous, ask for your fixer’s opinion. When your fixer says it’s time to leave or that you must drop the case, please listen to him or her. And don’t forget to thank your fixer if he or she saved your life.
My first feature long contemplative Avant-garde film, production the title "The Gardener" is getting close to the end of production period. It took more than a year to shoot on locations in Cambodia and Thailand. There was no script and neither the story-line was written advance. I developed the story in my head step by step, sometimes at the location right before the shoot. The entire shooting period was a real experience with the unpredictable time on certain locations. Regarding to the circumstances I decided to shoot without assistance, it means I was the only crew member. There was no meaning to look after freelance crew. Neither the shooting days nor the production period was scheduled in advance. I used my own basic camera, sound and lightening equipment, car, rented properties, etc... I used natural lights on locations, except when I shot the interior scenes and the lights were not adequate. 
