Written by real camera crew
5 min read
Last updated: 14/9/2026
Here's what you'll walk away with:
When you can (and can’t) take photos on set
Radio, eyeline, and “don’t touch what isn’t yours” rules
How to make your camera team look good and get asked back
Lauren Byrne
Most set etiquette guides will tell you “never take photos on set”. We disagree (with conditions). Taking photos and posting them to Instagram can help you get work. They show your experience, the scale of the productions you’ve been on, and your progression through the camera department.
A well-curated Instagram has gotten trainees hired more times than you’d think.
BUT, here are the rules:
Take photos only when you’re not busy and not filming - Never stop working to take a picture. No photo is worth looking like you don’t know your priorities.
Take photos when others in your department are too - If your 1st AC or 2nd AC has their phone out, that’s usually a green light.
Don’t post until the film/show is released - NDAs (non-disclosure agreements) are real, and productions monitor social media. Now, this doesn’t apply to general camera pictures and videos, but anything from the set shouldn’t be posted until after it’s released.
Above all, read the room - If you even slightly hesitate, don’t take the photo.
Only touch equipment that belongs to the camera department unless someone directly asks you to.
Not because departments are territorial (well… sometimes), but because:
If you move someone’s gear without them knowing, they can waste time searching for it.
You might break something you’re not familiar with.
It might be there for a reason.
If in doubt, leave it alone.
People will respect you more for not interfering than for trying to be "helpful". If something needs to be moved, get them to move it or ask if you can do it for them.
Don't look at the talent
One of the strangest but most important rules in set etiquette: Do not look the talent in the eyes while filming. In fact, don’t be in their eyeline at all. No, not because you’ll turn to stone (Medusa joke), but because actors work hard to stay in the scene. One trainee staring at them can be enough to snap focus and break the moment.
If you need to be near the action:
Keep your eyes down
Or look away towards your team
Make it easy for the actor to forget 30 people are watching them.
This strangely goes for some focus pullers too. Some focus pullers can get distracted when you’re in their peripheral vision, moving around, so stand behind them if possible.
Radio etiquette
As a trainee, your job, beyond learning, is to make your camera team look solid.
Why? Because they will be the ones hiring you again.
If someone on your team miscommunicates, drops something, or loses a bit of kit, don’t point it out to other crew members.
You’ve just made everyone else aware that they made a mistake and they won’t appreciate you for that.
Protect your team - Show loyalty early, and it will come back to you tenfold.
It’s very tempting to try to prove you know things.
Resist this urge.
The quickest way to annoy a camera team is to:
Correct them
Suggest alternatives
Offer unsolicited workflow tips
Comment on lighting, blocking, or lenses
Unless someone asks for your opinion, or unless you genuinely spot a problem they’ve missed and safety is involved, keep quiet and observe.
Your time to give input will come.
Knowing when to speak and when to stay quiet is part of good set etiquette.
This might be the most important rule:
Do not moan, whine, or complain on set.
Film sets are high-pressure environments with long hours.
What people want around them is:
A positive attitude
Someone who replies “No problem” and means it
Someone who handles chaos with a smile
Someone who doesn’t spread negativity
You can be tired. You can be stressed. Just don’t externalise it.
A positive trainee gets hired again. A complaining trainee doesn’t.
Report to your 2nd AC first. Do not go around them to the DP with problems or questions. If you are stuck, tell the person who gave you the task.
On set, crews want camera trainees to know what to do. Being keen gets you noticed. Being competent gets you asked back.
If you’re serious about working in the UK camera department, get early access to our free Camera Trainee Masterclass: 10 bite-sized video lessons taught by camera crew from productions like Peaky Blinders, Star Wars, and Game of Thrones.
Whether you’re completely new, or a green camera trainee still picking things up the hard way, this is built for you.
You’ll learn what to do, when to do it, and how to do it right before you step on set, not while you’re on it.
Apply below for free early access. Practical, UK-set training from people who’ve been in your shoes.
