RANKIN

AN INTRODUCTION TO PHOTOGRAPHY

“My mum told me that

if I chose to do something
I loved, I’d never work a day
in my life, and I’ve been
doing that for 30 years.

COURSE NOTES 1.0

BACK TO CONTENTS BBC MAESTRO 1 AN INTRODUCTION TO PHOTOGRAPHY

The Lessons

PA G E

About This Course 03 19. Getting The Most Out Of Your Subject 81

How To Use These Course Notes 04 20. In The Studio With Rankin 85

01. Welcome 06 21. The Other Side Of The Lens 90

02. Introduction To The Course 08 22. Challenge 5: Portrait 93

03. What Makes A Good Photograph? 10 23. Post-Production 94

04. The Power Of Portraiture 26 24. Creative Retouching 96

05. Introduction To Cameras 33 25. Rankin's Self-Portrait 100

06. Smartphones 36 26. Challenge 6: Self-Portrait 103

07. Challenge 1: Auto 39 27. The Power Of Representation 104

08. The Basics 40 28. Challenge 7: Who Do You See? 107

09. Lenses 51 29. Getting Out Of Your Comfort Zone 108

10. Challenge 2: Manual 56 30. Challenge 8: Be Brave, Be Bold 111

11. Introduction To Lighting 57 31. Extra Tips 112

12. Studio Lighting 59 32. How To Build Your Portfolio 121

13. Natural Lighting 67 33. How To Get The Job 124

14. Challenge 3: Lighting 73 34. Q & A With Rankin 127

15. Preparation 74 35. Outro 129

16. Visualising Your Idea 76 Glossary 130

17. Challenge 4: Moodboard 78 Bibliography 134

18. Creative Collaborations 79

BACK TO CONTENTS BBC MAESTRO 2 AN INTRODUCTION TO PHOTOGRAPHY

About This Course

H E L LO, I ' M R A N K I N

I have been an international portrait and fashion photographer for over 30 years.

I’ve had the pleasure of creating some of the most iconic images of the world’s

most well-loved faces which are instantly recognisable across the globe.

My clients include everyone from royalty, Hollywood A-listers and the gods and

goddesses of the music industry. I am passionate about photography because

I love people and it has been my honour to take portraits of the world’s most

famous and celebrated faces.

Through my BBC Maestro course, I want to inspire everyone with a camera to

find their voice. I want to equip you with the skills that could enable you to take

your passion to the next level, setting you off on a journey that may possibly

turn your hobby into a money-maker.

BACK TO CONTENTS BBC MAESTRO 3 AN INTRODUCTION TO PHOTOGRAPHY

HOW TO USE THESE COURSE NOTES

These course notes are here to help you explore your new skills. You can dip in

and out of them as you watch the videos, and refer back to them as you take

up the challenges and exercises set for you along the way. You should read

them in order as each lesson is designed to build on what you have learned in

the previous one, developing your photography skills. This will allow you to see

your progress and appreciate how far you have come. You may find it useful

to grab a notebook to write down what you have learned after each lesson.

You can use it to keep a record of the exercises throughout the course. Once

you have completed the course, you will have your own personalised reference

book to refer back to as you continue your journey with photography.

Photography courses are often heavy on challenging terminology which many

learners find off putting. This course will keep it easy to understand for everybody

whatever level of experience you are starting from. The glossary will support

your le arnin g o f key p h o to g rap h y terms , s o yo u ca n w o r k yo u r ca m e ra a n d

discuss your work with confidence.

Throughout th e c o u rs e yo u wi l l fi n d i n - d ep t h in t e r v ie w s w it h t h re e fe ll o w

professional photographers, exploring their own journeys with photography.

The notes will summarise the discussions but nothing beats hearing these

very personal experiences from the photographers themselves. Watching the

interviews will ensure you get the maximum benefit from those lessons.

Each section of the notes has been created to complement the corresponding lesson

and are designed to raise your skills and enhance your love for photography to the

point your passion for the form may even earn you money.

BACK TO CONTENTS BBC MAESTRO 4 AN INTRODUCTION TO PHOTOGRAPHY

W H AT Y O U W I L L N E E D

ESSENTIAL:

. A camera: anything from your smartphone to a DSLR (or better).

These techniques and skills apply across the board.

. Editing software: anything from the apps on your phone to professional

software like Capture One, Photoshop and Lightroom.

. Someone willing to be your subject. Friend, assistant, enemy…

Anything goes.

. An apple or an orange and a torch (the one on your phone will do the trick).

. A blank notebook.

. Your imagination and a love of photography.

.
“
OPTIONAL:

.
A tripod

I want to inspire everyone

.
A light source

with a camera to find their

.
A light stand

. voice. I want to equip you

Additional lenses

.
Reflectors*

with the skills that will enable

.
Diffusers*

Social media account/s you to take your passion

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0 to the next level.
BACK TO CONTENTS BBC MAESTRO 5 AN INTRODUCTION TO PHOTOGRAPHY
01. Welcome

Photography has been my passion for as long as I can remember. As soon as Back then, there was no money, just some big ideas and a fearless approach

I picked up a camera, I realised this was the tool that would let me show the to making them a reality. The lack of funds forced me to be inventive. It was

world how I saw it. It allowed me to express myself and my ideas. It was instinctive. a catalyst for my imagination and instilled a deep belief in me that if you have

I studied photography at college but all of my greatest lessons came from getting a vision, you can’t let anything stand in your way. You have to dive right in and

out there and actually doing it. make it happen.

“
When Dazed was getting off the ground, I would go out and meet other young,

cre a t ive p e o pl e a nd i t wa s t ho se c o nnec t i o ns t ha t c rea t ed a l i ke- mi nded

community and led to oppor tunities for all of us.

Nothing beats the feel It was such an exciting time to be at the heart of the art scene in London and

of a camera in your hand, I loved every minute of it. The 1990s were a hedonistic time but for me, the

work always came first. I loved it then and I love it now. It was during my Dazed

searching for your next years that my lifelong passion for portraiture took hold. I’ve had the privilege

to photograph everyone from British Royalty, Hollywood A-Listers and Rock

great shot. ‘n’ Roll legends to political heavyweights, the stars of the future and thousands

of real people in-between.

My work has been on the front cover of all the world’s biggest magazines from

Vogue to my first love, Dazed! Every single portrait has been an honour. I have
My mum told me that if I chose to do something I love then I would never work honed my craft creating photographs that try to reveal something unique about

a day in my life and I’ve been doing what I love for over thirty years. In the early each subject. I learned how to direct the individual in front of my camera, how

1990s, I started a magazine called Dazed and Confused . I set out to explore to entice something unexpected from them, to get them to open up and give me

images and ideas that really excited me and that couldn’t be found in the other a part of themselves that is forever captured through my lens* .

magazines at the time. It was a success and I found myself photographing

everything and everyone I could have ever dreamed of. It is addictive and I want to share that passion, and what I’ve learned, with you.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 6 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. A camera is a means of expression that will allow you to communicate

.
your vision of the world to others.

.
The best way to learn is to get out there and do it.

You don’t need money or expensive equipment, you just need passion,

ideas and determination.

EXERCISE

Who would you like to photograph? Who captures your imagination? Make a list.

It could be a celebrity you see on TV, an icon of old Hollywood or maybe it’s

someone you see on your commute each day. Let your imagination run free. But

once you have your list, work out why you want to photograph each person. What

would you hope to reveal in your portrait? How would you go about achieving that?

“The best way to learn is

to get out there and do it.

BACK TO CONTENTS BBC MAESTRO 7 AN INTRODUCTION TO PHOTOGRAPHY

02. Introduction To The Course

I am here to help you take photographs that will stand out from the crowd. I want Throughout the course, we will explore the art of portrait photography. It is

to help you take photographs that tell a story and will stop viewers in their tracks, the love of my life. Three fellow photographers will reveal their passion for

draw them in and spark their imaginations. photography. They will trace their own unique photographic journey; exploring

how they use their cameras to express themselves and to tell the stories that

matter to them.
All cameras are welcome here. Today most of us have a smartphone camera

within arm’s reach. It has democratised photography. They are so sophisticated

You will be learning first hand from some of the most inspirational and visionary
today; you can take images that stand head and shoulders above the crowd.
p h o to g ra p h e r s w o r k i n g to d a y. T h e i r p a s s i o n i s i n fe c t i o u s a n d y o u w i l l b e

challenged every step of the way to take your camera and put what you have
Whichever camera you are using, this course is designed to ensure you create learned into action to create photographs that excite you and show the viewer how

photographs that will impress across your social media feeds, grids and stories… you see the world.

and that is the way to start monetising your newly developed skills. Over 50%
But you are also here to put those new skills to work. We will get down to the
of photographers get clients purely through their Instagram account and it is
serious business of… exploring how to develop the skills you will need to earn
an essential tool for promoting your work.
a living from your photography; from finding your voice to networking with integrity

and purpose.
This will be a hands-on course. You will be joining me in my studio to see me

at work. I also want to help you take photos of the people you love, the moments in

your life you want to capture forever. Photography is such an important tool for

Beginning with the very basics, you will learn the essentials that apply to every documentation. It pierces straight to the heart. And those are the photos and

camera, from the camera phone almost everyone has in their pocket to DSLRs memories I want to help you create.

and even the most expensive cameras used by the professionals. These are
By the end of this course, you will be on your way to creating a unique portfolio
the fundamentals that underpin the art of photography. Once you have learned
of authentic, powerful work that will help you break through the noise* . Let’s
these basics and they have become second nature to you, this will allow you to
get started.
explore your ideas with confidence in your technical skills. It will free you up

to really get creative. * P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 8 AN INTRODUCTION TO PHOTOGRAPHY

 “I also want to help you take
photos of the people you love,
the moments in your life
you want to capture forever.

TA K E A W AY S

. The fundamental rules you will learn throughout this course apply to all cameras.

“
Learning these fundamental rules will give your imagination a concrete

foundation to build upon.

. You will find inspiration in other people’s work but you need to get out there

and do it for yourself.

. You can learn the skills that may lead to making money from your photography.
You will be learning
first hand from some
EXERCISE
of the most inspirational
Think about three photographs that have really stood out to you. and visionary photographers
a) Why have they grasped you?

b) What has the photographer done to make this photograph special working today.
and resonate with you?

BACK TO CONTENTS BBC MAESTRO 9 AN INTRODUCTION TO PHOTOGRAPHY

03. What Makes
A Good Photograph?

Portraiture is one of the most popular genres of photography. There is nothing A good portrait captures something unique about the subject but to do that

more compelling than the human condition. Our stories are written across our requires time and skill. The best photographs make you think and feel. They

faces. Our history can be found in the lines, the shadows and the scars. We should engage your brain and your heart. It is those images that really excite

a viewer, and those are the ones that last. Those are the images that we all
see ourselves reflected in portraits. They offer us a direct connection across
come back to time and again; allowing us to peel back layers to reveal something
space and time, spanning the years. We may never have met the person but
new about the world and the people in it each time. Those are the images that we
we are connected. When we view a portrait, we have an emotional response. It
all strive to take and that will be your goal here.

“
increases our ability to empathise with our fellow humans and allows us greater

understanding of ourselves and the world we live in. With each unique face

comes a possibility of touching something universal in all of us.

With the invention of the camera phone, photographs have become disposable.

We use them to create a brand for ourselves; performing an idealised version of

Our stories are written across
our lives on social media. But photography was originally invented to document
our faces.
our world. It may not be reality but it has the illusion of reality and that can be

used in your work. As photographers we know that an image is constructed. It is

a specific moment in time, grounded in the reality of an event that has happened.

You really did have that person in front of your lens. Having someone in the room Portrait photographs are ‘made’, not ‘taken’. It should be a collaborative process

and taking their picture is proof that they were there. But as the photographer, where the photographer and subject work together to create something special.

you have made choices in how to represent that person. That is something Every single person brings something unique to the collaboration and as the

photographer, you never know in which direction the process will take you.
essential for each photographer to tap into.

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 “
Photography was originally
invented to document
our world.

RANKIN CASE STUDIES:

S A Y S O M E T H I N G – M A R I LY N M O N R O E

This is an early photograph exploring the role of celebrity. Mel was a college

student who looked like Marilyn Monroe, a public figure who potentially put

herself at risk by being in front of the camera. It was important not to simply

p h o to g ra ph f a mo us peo pl e. It wa s essent i a l t ha t t he i ma ges c rea t ed ha d

a revealing element to them to tell you something about the celebrity. Even

though this image is not of the real Marilyn Monroe, it is trying to say something

about her as a person.

MEL © RANKIN

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 B E Y O N D T H E FA M I L I A R – M U M A N D D A D

This is a photograph of my parents in our family home in St. Albans. They were

cleaning the house before we moved out. Not only is it an image that really

captures them as a couple, it is also fun and humorous. Sometimes the hardest

people to photograph are those closest to you because you know them so well.

But it is important to stretch yourself and take those portraits. It takes you out of

your comfort zone because you have to really work hard to capture something

that you possibly take for granted.

MUM AND DAD © RANKIN

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 IF YOU DON’T ASK, YOU DON’T GET – GILBERT & GEORGE

This portrait is a wonderful example of using your initiative to get access to

the people you would love to photograph. Gilbert & George were right at the

forefront of the art scene in London during the early 1990s. Their phone number

was in the Yellow Pages and they said yes to being photographed. What an

opportunity. You’ve got to put your nerves aside and take your chance when it

presents itself. The concept of the photograph was to take two guys who

seemed to act as one person in the work and combine their legs in the portrait

to create an amalgamation of the two of them.

GILBERT & GEORGE © RANKIN

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 CAPTURE THE MOMENT – BJÖRK

This portrait of Björk was taken in America during a portrait session for the cover

of Dazed and Confused magazine. The session was spent out on the streets and

there were lots of good photographs but this one stood out from the rest. The

wind had suddenly picked up and swept her hair across her face. The years of

practice came to the fore in that moment. Practice allows you to adapt to the

circumstances and utilise those fortuitous events. It allows you to capture the

‘decisive moment’, a term coined by one of the masters of photography, Henri

Cartier-Bresson. As explained by the Henri Cartier-Bresson Foundation:

“To take a photograph means to recognize, simultaneously and within a fraction

of a second‚ both the fact itself and the rigorous organization of visually
perceived forms that give it meaning.”

It is so impor tant to practise, to make sure your skills are second nature. It

means that you can, instinctively, recognise those decisive moments when they

occur and capture them with your camera. Lean into the idea of taking lots and

lots of pictures because when something happens in the moment and you have

the skills to capture it; that’s when you get memorable results.

As a side note, don’t put celebrities on a pedestal. Be respectful because they

are humans just like the rest of us. Always try to make a connection on a human

level, with every subject.

BJÖRK © RANKIN
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 P R E PA R AT I O N – T O N Y B L A I R

This portrait was taken while Tony Blair was Prime Minister, at the start of the

war in Iraq. It was a photograph for the Financial Times supplement. It was

the first photograph of Tony Blair where he wasn’t smiling and turning on the

charm. It was about the seriousness of being a Prime Minister. The session

was only 15 minutes long but that is all you need to take an excellent shot. The

duration of the shoot shouldn’t be the deciding factor. As a photographer, you

should be going into a portrait session with an idea about what you are trying

to achieve and then working with the subject in that moment.

TONY BLAIR © RANKIN

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 DEEPER MEANING – DEBBIE HARRY

This image of Debbie Harry was for a magazine cover commission. It is

important to always have an idea for what you want to create when you go

into a portrait session but you also need to be able to work with the person

in the moment. Debbie’s makeup was so graphic it was clear it would make

a fantastic image and when someone’s eyes are closed, it makes a subtle

allusion to their mortality. That allusion is what makes this image so powerful.

DEBBIE HARRY © RANKIN

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 CONNECTION – ROBERT DOWNEY JR.

Robert Downey Jr. was everything you could have hoped he would be and that

shows in the image. It is such an intense and direct connection with the viewer

that touches your heart and your head.

ROBERT DOWNEY JR © RANKIN

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 C O L L A B O R AT I O N – P E T E D O H E RT Y

Each subject is different and you should challenge your preconceptions. Meet

everyone and take them as you find them. Pete Doherty was a perfect example of

this. Sometimes collaborations come from the most unexpected things. Pete

had kittens on his rider. That is an unusual request but it provided a moment of

genius when Pete put the kitten on his shoulder. It gave me the opportunity to

take an image that was very sensitive and unexpected. When you look back at
yo u r w o r k there are alw ay s things you wish you could improve. This image

might have been better if the cat was in focus* .

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

PE TE DOHERTY © RANKIN
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 PRECONCEPTIONS – GORDON BROWN

Like Pete, Gordon Brown also had a negative image in the press. He was seen

as a grumpy old man but in person he was the complete opposite. He was

charming and that is what comes through in the photograph.

Different photographers use different techniques to get a reaction from their

subjects. It is a personal preference depending on the end result you are aiming

for. Making the subject feel comfortable through ensuring that it is a collaborative

process often brings about the best results because it builds trust and allows the

subject to feel safe and willing to open up in front of the camera in a way they

might not with more confrontational methods. Every photographer approaches

it in a different way and you can see that in the images. Your aim must be to

create the best image you can, whichever way feels most comfor table and

productive for you.

GORDON BROWN © RANKIN

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D E A L I N G W IT H C H A L L E N G I N G S IT UAT I O N S – M I K E S K I N N E R

This is the perfect example of dealing with a complex situation. Mike Skinner

arrived at the shoot three hours late, on his mobile phone and remained on his

phone for another couple of hours. Instead of waiting for him, his mobile phone

became part of the shoot. There are even shots of him texting.

MIKE SKINNER © RANKIN

BACK TO CONTENTS BBC MAESTRO 20 AN INTRODUCTION TO PHOTOGRAPHY
 A SINGLE FRAME – QUEEN ELIZABETH II

Sometimes you will find a subject who intimidates you and there was nothing

m o re i n t imi d a t i ng t ha n t he t ho ught o f pho to gra phi ng t he Queen. She wa s

photographed by all the great photographers. How do you get something unique

from someone who spent their entire life being photographed and was naturally

very guarded? The aim was to take a photograph that nobody had ever seen

before. But she did have a sense of humour and that was the perfect way to get

something unique. She laughed when the camera malfunctioned, providing the

perfect opportunity to grab this single frame of her with a full smile.

There are so many different types of portraits you can take; from environmental

to candid to studio. It is so important to explore the work of other photographers.

You will learn what works from studying their work; from the importance of framing

and composition* and the way light creates mood to the ability of a single frame

to tell a story that reaches across time to you, the viewer. There have been many
great photographers across the genres. Explore and discover who speaks most
QUEEN ELZABETH II © RANKIN

directly to you.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 21 AN INTRODUCTION TO PHOTOGRAPHY

 I N S P I R AT I O N

Here are a few suggestions to get you started:

DIANE ARBUS (1923-1971):

Diane Arbus created provocative and intimate portraits of marginalised individuals

and subcultures. Work of note: Identical Twins, Roselle, New Jersey (1967).

Arbus’s work explores people on the edge of society. She takes identical twins as

her subject and placing them side by side invites the viewers to look deeper and

find the differences that make us all unique.

© DIANE ARBUS

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 DOROTHEA L ANGE (1895-1965):

Dorothea Lange used her lens to highlight the humanity, suffering and resilience

of the people at the heart of The Great Depression. Work of note: Migrant Mother

(1936).

Lange directed the mother and her children to achieve a haunting image that

had a direct impact on the government aid reaching the migrant workers from

The South during The Great Depression.

© DOROTHEA LANGE
BACK TO CONTENTS BBC MAESTRO 23 AN INTRODUCTION TO PHOTOGRAPHY
 HERB RITTS (1952-2002):

Herb Ritts used strong contrasts and stark lighting to create bold and powerful

portraits. Work of note: Madonna, True Blue, Hollywood (1986)

Ritts captured a previously unseen side of a very young Madonna through the

black and white sultry pose that became the cover of her album True Blue.

It was the image that would come to define her new public persona.

The best portrait photographers are fascinated by people. They love the challenge

of finding that unique aspect of each person that makes them who they are and

capturing it. Each photograph is a collaboration between the photographer and the

person in front of the lens. You make those photographs together. It is a privilege

to connect with each subject and a unique opportunity to peel away the mask we

all use to hide our true selves from the world.

© HERB RITTS

BACK TO CONTENTS BBC MAESTRO 24 AN INTRODUCTION TO PHOTOGRAPHY

 “
TA K E A W AY S

. A portrait should create an emotional response in the viewer; enhancing our

Each photograph is a collaboration

empathy with our fellow human beings.

. With each portrait, the photographer is making deliberate choices about how

to represent the subject. between the photographer

. A portrait should reveal something unique about the subject.
and the person in front of the lens.
. Portraits are ‘made’, not ‘taken’. It is a creative collaboration between the

photographer and the subject.

. Be prepared before the shoot but be ready to adapt if the situation calls for it.

You never know when you might get that one perfect shot.

. Keep an open mind; people will always surprise you.

EXERCISE

1. Choose a portrait to study, either one you know well or of a person you admire.

Research the photographer behind it, and any articles you can find to learn about

their decision making and execution.

2. Pick three images you like that the photographers listed above have taken.

Study these images and think about what makes them unique. What emotions

do these images create within you? What emotions do you think resonated inside

the photographer to create this look and feel in the images?

3. Using the same images from the last exercise, write three different directions

for each image which you think the photograph and subject could have taken to

© RANKIN
make the image different.

BACK TO CONTENTS BBC MAESTRO 25 AN INTRODUCTION TO PHOTOGRAPHY

04. The Power Of Portraiture

Throughout the course, three incredible photographers will be exploring their

own route into professional photography, and giving us their best advice for

enthusiasts who want to take their skills to the next level and possibly start

making money from their work.

All three photographers share a passion for portrait photography. It has been

the catalyst for some of the most defining moments in both their careers and

their lives.

GILES DULEY

‘I felt I wanted to be using my skills as a photographer to try and make some

change. I was angry. People say ‘When did you become a photojournalist?’

I’m not a photojournalist. I was an angry man with a camera.’ [ G I L E S D U L E Y ]

Giles Duley’s love of photography and the power it has to change people’s lives

for the good has taken him deep into the heart of some of the world’s most

dangerous places.

In 2011, while he was embedded with a US Military unit (the 101st Airborne

– the unit famously featured in the TV series Band of Brothers ), he stood on

a landmine. His injuries were life-changing. He was lucky to survive but he lost

three of his limbs, leaving him with only one arm. His road to recovery was long

and arduous but photography was at the very heart of his journey. Spurred on

by his first-hand experience of the devastating cost of war, he turned his camera

onto others facing the brunt of global warfare, creating Legacy of War, a charity

dedicated to advocating for the survivors of conflict.

BACK TO CONTENTS BBC MAESTRO 26 AN INTRODUCTION TO PHOTOGRAPHY

 Giles came to photography in his late teens. He had been an avid sports player

but a minor car accident aged 18 left him unable to play at a professional level.

He inherited a camera and a book of photographs by the famous war photographer

Don McCullin. McCullin’s work opened Giles’ eyes to the world of war photography

and the emotional impact a photograph could have.

Giles first earned a name for himself in fashion and celebrity photography but,

after the terror attacks on 9/11, he felt a need to document a rapidly changing

world and to challenge injustice with the only tool he had, his camera.

Everything starts with storytelling. Giles uses his camera to tell the stories of

the people he meets to galvanise the public into bringing about material change

for the people in the pictures. Photographs can be very powerful, opening up

unimaginable experiences and connecting the viewer to the humanity of people

living in desperate circumstances. They can raise awareness in the halls of power

and they can raise huge sums of money to create change for those who need it

most.

www.legacyofwarfoundation.com
© GILES DULEY

BACK TO CONTENTS BBC MAESTRO 27 AN INTRODUCTION TO PHOTOGRAPHY

KEN KAMARA

‘Every time you release that shutter, every single time you press that button
you take responsibility. Not just for making a wonderful photo. It’s an image,
and it’s someone’s image that is going to be remembered through time, and
also inspire the next generation.’ [ K E N K A M A R A ]

Ken Kamara is a family man first and foremost; bringing up his two young children

with his wife in his adopted home of Berlin. He is a photographer and a filmmaker

and first met Rankin when he assisted him in the mid 2000s.

Born in Sierra Leone, Ken studied at the London College of Communication and

began his career as a portrait photographer in 2011. Passionate about using

his photography to promote social justice, Ken amplifies underrepresented

communities through his work. He believes it is essential to truly connect with

each person you photograph and his subtle approach to developing narratives

and his compassion for the people he collaborates with has allowed him to

create evocative images with even the most reticent of subjects. His work has

taken him across the globe; notably capturing the unmasked faces of Tokyo

and the Black Lives Matter protests in Berlin.

His love of photography came in his early twenties. He was in New York shortly

after the terror attacks of 9/11 and realised this was a unique moment in history

that should be captured on camera. The first smartphone cameras had just

appeared on the market and Ken was fascinated by the new technology, really

getting to grips with the possibilities it presented to the budding photographer.

He often shoots on his 1956 analogue camera*as well as continuing to embrace

the ever expanding smartphone technologies.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 28 AN INTRODUCTION TO PHOTOGRAPHY

 “
For me, it's how do you get
them to a place that they're
so comfortable or still,
that they just forget where
they are, and it just becomes
about you and them.

Ken believes each photographer learns from the greats that went before them

and passes on what they have learnt to the next generation. This is how Ken

learned his trade. It is an essential part of the process. It is also important

to ensure new photographers understand the responsibility that comes with

every click of the shutter. You are creating an image of someone that will last

through time. Photographers must also be aware of the body of work they are

creating. You are representing yourself and you are a voice for your community.

Each image must be considered and you must interrogate what you are trying

to communicate.
© KEN KAMARA

www.kenkamara.com

BACK TO CONTENTS BBC MAESTRO 29 AN INTRODUCTION TO PHOTOGRAPHY

BEXY CAMERON

‘There are elements of history that we can't touch but we can emotionally feel

through just looking at one image. I think that’s bonkers, and beautiful and

speaks to the medium and what we can do with it and what we can get out of it.’

[BEXY CAMERON]

Bexy Cameron is an author and a filmmaker as well as being an accomplished

photographer. She also had a unique childhood. Bexy grew up in the Children of

God cult which cut her off from the wider world. She has written a book about

her time in the cult called Cult Following: My Escape and Return to the Children

of God .

Her introduction to photography came through a photography book called In

My Room: Teenagers in their Bedrooms by Adrienne Salinger which showcased

1990s teenagers in their bedrooms. It was an eye-opening moment for young

Bexy who had never experienced everyday teenage life. All of a sudden, she had

direct access to a world she knew nothing about and it introduced her to the

power of photography to tell someone’s story.

This le d he r to Nan Go l d i n’s wo rk. P h o to gra p h e r a n d a ct iv i s t N a n G o ld i n

p h o t o g r a p h e d t h e c o m m u n i t y o f p e o p l e i n 1 9 7 0 s a n d 1 9 8 0 s N e w Yo r k ,

captur ing th e AI D S ep i d emi c an d th e rava g e s o f d r u g u s e . N a n w a s r ig h t

at the he ar t o f th e c o mmu n i ty ; l i vi n g an d b re a t h in g i n t h i s w o r l d ra t h e r

than be ing an o u ts i d er l o o ki n g i n . Th i s g ave h e r i m a g e s i n cre d i b l e p o w e r

and that spoke directly to Bexy, par ticularly after her childhood experiences.

BACK TO CONTENTS BBC MAESTRO 30 AN INTRODUCTION TO PHOTOGRAPHY

 “
Always make sure you have
the stuff that's reflective of
you, what you like to shoot
and what you're interested
in. Even if it's just one section
of your portfolio, because
it's your North Star on what
you really care about.

Being embedded with your subject matter can allow you as a photographer to

gain a unique insight into the lives you are documenting. Bexy immersed herself

into the worlds she began photographing and it offered her the opportunity to

use her storytelling to break down the barriers faced by groups of people who
© BEXY CAMERON

are often considered outsiders or different.

www.bexycameron.com

BACK TO CONTENTS BBC MAESTRO 31 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

.
.
There are many different styles of photography. Find the one that speaks to you.

.
There are many routes into the business so be proud of your own story.

Photography is storytelling and can be used as an incredibly powerful tool for

.
change.

Explore the work of other photographers to discover the vast range of creative

styles and subject matter out there.

EXERCISE

Write a list of 10 different photography styles that you are aware of. This list will

be useful later if you need some inspiration.

“There are many different

styles of photography.
Find the one that
speaks to you.

BACK TO CONTENTS BBC MAESTRO 32 AN INTRODUCTION TO PHOTOGRAPHY

 05. Introduction To Cameras

There are a vast range of cameras available today from analogue cameras that

use film to digital. Some of the most popular options include:

. A basic ‘point and shoot’ digital camera* that was ubiquitous pre-smartphones.

It is small, portable and allows you to grab the shot when it happens however

it offers you very little control over the settings.

. The more advanced DSLR (Digital Single-Lens Reflex)* and the mirrorless*

cameras which allow you full control of the settings.

. A medium format camera* which is often used by high-end professionals

thanks to the high-quality images it delivers.

POINT AND SHOOT

D I G I TA L S I N G L E - L E N S R E F L E X ( D S L R )
A compact and easy to use camera designed to be used without changing lenses
or much access to manual* controls.

D I G I TA L S I N G L E - L E N S R E F L E X ( D S L R )
A DSLR le ts th e p h o to g rap h er see th e su b j e ct i n t h e o p t i ca l v ie w f in d e r v i a
a reflection from a mirror inside the camera body. When you look through the
viewfinder you are seeing exactly what your eyes would see in real life.

MIRRORLESS
In mirrorless cameras, the light goes directly to the sensor* and is viewed on
the LCD screens on the back and in the viewfinder. This means that what you
are seeing through the viewfinder is a preview of what it will look like after the
camera has applied the settings you have chosen. Smartphones are also all
mirrorless cameras.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0 MIRRORLESS

BACK TO CONTENTS BBC MAESTRO 33 AN INTRODUCTION TO PHOTOGRAPHY

M E D I U M F O R M AT M A N U FA C T U R E R S

Medium format cameras are the favourite with many professionals. They have There are a lot of manufacturers and brands out there. Each person has their own
a larger sensor than DSLRs. They are incredibly versatile and reliable under preference. Photographers often stick with the brand of camera they are familiar
almost any condition. They capture one of the largest size files you can get; with, because they are used to using them but it really doesn’t matter which you
which gives you the most range for your post production. The larger the file, choose. There are people out there who will tell you that one manufacturer is better
the greater the options for retouching and blowing the image up for use on
than another and that you should be using a Canon or a Nikon. Ignore them. It
billboards without losing definition or detail.
really is a personal preference. The goal is to be creative and learn how to take

photographs.
A N A LO G U E v s D I G I TA L

Digital cameras are based on film cameras. You learn so much through shooting

on a camera that uses film. It is a great tool to really learn your craft. Buy yourself E X P E R I M E N TAT I O N

a second-hand film camera. It doesn’t have to be an expensive one and there are You will learn so much more by just experimenting and not worrying about all of

lots of affordable ones on internet auction sites and second-hand shops or you the technical stuff. Find out what is best for you in different situations. A point

can rent them. What you will learn on an analogue camera using film is how and shoot might be perfect for that party but your DSLR might be the right tool

to think about what you are shooting as opposed to rapidly firing off lots of for a portrait. Your camera phone is another essential tool. There is an assumption
digital files. It makes you consider what you are doing with each shot as each that ‘proper’ photographers don’t use their phones but that is simply not true.
exposure* will cost you money to develop, making mistakes expensive. A camera phone is a real camera and you should use it as much as you want to

use it. They have an amazing capacity to take excellent pictures if you know how
The converse of that is with a digital camera you can shoot and shoot and
to use them.
shoot. With that comes the ability to experiment without the pressure of needing

to get it right the first time and the opportunity to practise your skills… and as
K I T v s I M A G I N AT I O N
they say, ‘practice makes perfect’.
As a photographer you will discover that you keep learning. There are always

new techniques to explore. It is important to remain open to and excited by new

THE COST
ideas. The cameras and lenses are just tools. That is such an important fact
Equipment can be expensive but it doesn’t have to be to get started. You just

need to maximise the resources you already have. It doesn’t really matter what to understand. They are tools to make your work look good. It is important to

you are using, it’s about how you use it. The second-hand market is an excellent learn what the kit can do but don’t be restricted by that. It’s about using the kit

place to find decent cameras and renting is a cost-effective way to try a camera to make what is in your head get onto the sensor or the film and into a print or

or lens out before you make a big purchase. into a magazine.

BACK TO CONTENTS BBC MAESTRO 34 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. Every type of camera has its benefits and its challenges.

. They all work in a very similar way and the basics will apply to them all.

. Learn how to shoot using an analogue camera. You will learn how to carefully

craft your image as each shot costs to develop so it forces you to truly

consider the shot.

. Kit doesn’t have to be expensive. You can buy cameras secondhand or you

can even rent them if you want to try before you buy. Don’t let a lack of funds

stand in your way.

. Don’t worry about which camera you are using, just start with what you have

and experiment. That is how you will learn the real lessons.

. Use the right camera for the situation.

. The camera is just a tool to allow you to create the images you want to achieve.

“
Don’t be intimidated by the kit. The only true limit is your imagination.

EXERCISE
Photography doesn’t have
Think about these different cameras, which ones have you used before?

Which one are you most excited to use and why?

to cost a fortune to get started.
You just need to maximise
the resources you already have.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 35 AN INTRODUCTION TO PHOTOGRAPHY
06. Smartphones
DSLR OR SMARTPHONE – WHICH IS RIGHT FOR YOU?

The smartphone has democratised photography. But just because everyone now
DSLR SMARTPHONE
has a camera within easy grabbing distance, it does not mean there is a world

full of photographers. Quantity does not mean quality. You still need the passion,
PROS CONS PROS CONS
the talent and the skills to take you from a hobbyist to a real photographer.
HIGH IMAGE GREATER SMALLER SIZE IMAGE QUALITY
QUALITY TECHNICAL ALLOWS MORE REDUCED IN
Smartphones today have incredibly powerful cameras for the size and cost and
KNOWLEDGE DISCREET LOW LIGHT
they keep getting better. A smar tphone can’t replace a top end professional IMAGES
NEEDED TO
camera but most of today’s great photographers use them all the time. MAXIMISE USE TO BE TAKEN

FULL CONTROL EXPENSIVE INSTANT MORE LIMITED

OF SETTINGS INITIAL OUTLAY SHARING WITH CONTROL OVER

“
FOR CAMERA SOCIAL MEDIA THE MANUAL
BODY APPS SETTINGS

LARGER EXPENSIVE VARIETY OF FIXED INTERNAL

SELECTION TO BUY FIXED LENS LENSES CAN'T

Quantity does not mean quality. OF INTER- ADDITIONAL OPTIONS BE REMOVED

CHANGEABLE LENSES BUT CAN BE
LENSES ENHANCED
WITH ADDITIONAL
LENSES
ATTACHED
TO THE PHONE

DESIGNED TO BE HEAVIER LIGHTWEIGHT HARDER TO

COMFORTABLE AND MORE AND EASILY USE AND KEEP
TO USE OVER CUMBERSOME PORTABLE STABILISED
LONG PERIODS TO TRANSPORT OVER EXTENDED
OF TIME PERIODS OF TIME

BACK TO CONTENTS BBC MAESTRO 36 AN INTRODUCTION TO PHOTOGRAPHY

GETTING THE MOST OUT OF YOUR SMARTPHONE M U LT I P L E C H O I C E

Smartphone cameras allow us to use our imagination to create images that To get the most out of your smartphone, make sure you get yourself in the

would have been prohibitively expensive for the budding photographer in the best position. Photography is a physical game. Get in there. Move about. Test

past. We can now shoot, preview, edit and send all at the touch of a button. all your angles and maximise the ‘burst’* option. A huge advantage of digital

It is then possible to instantly showcase this photography on social media photography is that you can take as many photographs as you like and select

platforms. the best one after. That’s how you learn. Often the best shot will be a few shots

after the first one when the subject has relaxed and become less aware of you

All the rules that apply to taking good photographs with your DSLR apply to and your camera.

your smartphone. The principles of photography are always the same and apply

to every type of camera. The advantage a smartphone has is its portability and A D VA N TA G E S

readiness to hand. Smartphones do have their limitations. For example, sometimes they are not

always powerful enough to cope with movement. But the quality can be superb

The key to getting professional results from your smartphone is to practise. and they are so easily shareable. Keep your eye out as companies are developing

You have to be prepared to take lots of shots, even bad ones. You will learn new features and technology all the time.

from them all. Get used to exploring your smartphone and really learning what

can be done with it. Perhaps the biggest advantage of all is we all now have the ability to create

our own portfolio and share it with the world. It is sitting in our pockets all day

PORTRAIT MODE* vs APPS long. You just need to know how to maximise its potential. It doesn’t matter

Most smartphones have a portrait mode. It gives the impression of shooting which brand of phone you use, as always, it is what you do with it that counts.

with a wide aperture* lens which creates a shallow depth of field* , making

sure your subject is in focus while your background is blurry. It is a shortcut

that sidesteps your input as a photographer.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

There are a variety of apps out there that will allow you to take incredibly

high-quality images and give you real control over the end result. They allow

you to grade the image* rather than using pre-set filters. They also allow you to

access the f-stop* and shutter speed*. This puts you in control of the finished

image and that is essential if you want to be creating portraits that truly stand

out from the crowd.

BACK TO CONTENTS BBC MAESTRO 37 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. You learn more from a failed attempt than you do from getting it perfect the

.
first time.

.
Portrait mode is the easy way out.

.
Use apps that allow you control over the settings to create unique images.

.
Your best shot will rarely be your first shot.

Smartphones put the control of all aspects of photography firmly into your

own hands.

“We all have the ability to create

our own portfolio, and they’re
sitting in our pockets all day
long. You just need to know
how to maximise its potential.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 38 AN INTRODUCTION TO PHOTOGRAPHY
07. Challenge 1: Auto

Get your smar tphone or your DSLR and take the very best and most original

portrait you can, of anyone you can, keeping it all on auto.

How good a portrait can you get with the most basic kit readily available?

Take multiple shots and see how the image alters, and how the subject responds

over the time it takes.

Keep them. We will be coming back to them. The purpose of this exercise is for

you to see where you are starting from and just how far you will progress by the

end once we’ve explored exactly what it is that makes a portrait distinct and

unique. Share your images with BBC Maestro on social media, tag @BBCMaestro

and use the hashtag #RankinBBCMaestro. You will be able to look at other

students' work as well as share your creativity.

“
Smartphones today have
incredibly powerful cameras
for their size and cost...
And they keep getting better.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 39 AN INTRODUCTION TO PHOTOGRAPHY
08. The Basics

The automatic* settings on your camera will help you take perfectly average
photographs, but that is not what you came here for. If you want to really learn
how to use your camera and take images that stretch your creativity then you
will need to get to grips with the manual settings. Manual puts you in control.
There are other settings on your camera that will let the camera take charge
of certain aspects while allowing you to control others. None of those ‘priority’

“
settings give you full control and that is what we want here.

If you want to really learn how

to use your camera and take
images that stretch your creativity
then you will need to get to grips
with the manual settings.
Now is the moment to set your creativity free and take those cameras off auto.
There will be times you might want to use it in the future but for now, let’s focus
on learning the skills that will give you control of your camera and help you to
find your own style and voice.

The terminology can put some people off, but the concepts are fundamental to
using your camera to its maximum potential. We will keep everything easy to
understand. Remember, the glossary is here to help you whenever you need it.

© RANKIN
* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 40 AN INTRODUCTION TO PHOTOGRAPHY

THE CAMERA EXPOSURE

A camera is a lens on one side and a digital light sensor on the other. The Exposure is controlled by three main settings; shutter speed, aperture and ISO*.

.
lens is simply a piece of glass that lets light in. The light passes through the Each setting controls exposure in a different way.

.
camera, hitting the sensor at the back which then records this light to make an I S O – ISO controls the sensitivity of your camera’s sensor to the light.
image. The image is formed depending on how much light the camera lets in

.
A P E R T U R E – Aperture controls the amount of light that is let into the sensor.
and how much time it is exposed to the light. This is where the term ‘exposure’
S H U T T E R S P E E D – The shutter speed controls the amount of time the sensor
comes from.
is exposed to that light.

These three settings give you control of the image and allow for endless variables

depending on the shot you want to get.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 41 AN INTRODUCTION TO PHOTOGRAPHY

.
.
But with these possibilities also come challenges:

I S O affects the noise in the picture. This means the higher ISO, the grainier

the image.

A P E R T U R E affects the depth of field and what you have in focus. The wider
“
Automatic lets you take
perfectly average photographs,
. but that is not what you came
the aperture, the less of the image will be in focus.

A slow S H U T T E R S P E E D can create motion blur. This is because the longer

the shutter is open, the greater the amount of information captured, which can
include the path of motion.
here for...
While you may want to exploit these qualities, you will need to understand how
each impacts exposure* first before you will be able to manipulate them to
achieve your vision. SHUTTER SPEED

Your camera's shutter determines how long your sensor is exposed to light.

One vivid analogy that will help you get to grips with exposure is to think of The longer it’s open, the longer the sensor is exposed to the light. A faster*

.
light as water coming through the lens. shutter speed means a shorter exposure time.

I S O – The ISO measures how sensitive the sensor is to the water/light coming

through. This means the lower the ISO, the more of the water/light you will

.
need. Conversely, the higher the ISO, the less water/light needed.

A P E R T U R E – The same applies to aperture. The wider the aperture, the more

.
water/light will get through.

S H U T T E R S P E E D – The longer the shutter is left open, the more water/light

will come through and be captured by the sensor.

The combination of the three is what allows you to control the look of the image,
the sharpness, definition and depth of field.

As each of these three settings will affect the exposure of your image, you will
have to learn to use all three in conjunction with each other in order achieve the

effect you want whilst keeping your desired exposure. * P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 42 AN INTRODUCTION TO PHOTOGRAPHY

 1/125 (LEFT)

A reliable setting that will help you avoid little movements and camera shake.

If you go lower to 1/60 or 1/30 then you will need a very steady hand or a tripod.

1/4 (CENTRE)

Here you can see the movement. Because the shutter was open for longer,

it was able to capture the motion.

1/400 + MOVEMENT (RIGHT)

This high shutter speed will capture most movement without any motion blur.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 43 AN INTRODUCTION TO PHOTOGRAPHY
 “... Manual puts you in the driving seat. There are other settings
on your camera that will give you some level of control, but the
best way to learn is through manual.

ISO ISO – 100 vs 3200

The ISO speed determines how sensitive the camera sensor is to the light that You should only increase your ISO if you do not have enough exposure through

reaches it. The higher the ISO, the noisier the image which means the more your chosen aperture and shutter speed settings.

the image will break up and the less clear and detailed the image will become. < ISO 100 : ISO 3200 >

© RANKIN
BACK TO CONTENTS BBC MAESTRO 44 AN INTRODUCTION TO PHOTOGRAPHY
ISO 3200 ISO 100

This high ISO is great in low light but when you zoom in you start to see the T h e lo w e r ISO ha s muc h l ess no i se a nd c a n ha nd l e mo re di gi t a l c ha nges

noise will become more obvious. The higher ISO will also restrict what you can in exposure, contrast, dynamic range and saturation.

do in post-production* as changes to the exposure, contrast* , dynamic range

Only use a high ISO if you can’t achieve the result you are after with aperture
and saturation will make the image break up faster.
or shutter speed.

© RANKIN
© RANKIN

ISO 3200 ISO 100

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 45 AN INTRODUCTION TO PHOTOGRAPHY

“
DEPTH OF FIELD
The depth of field is the distance between the nearest and furthest elements

Photographers love to talk of an image that are acceptably in focus. The easiest way to describe depth of
field is the lower your f-stop is, the less you have in focus. The higher it is, the

lenses, and a good quality more you have in focus.

one is important. FOCAL PLANE

The focal plane is an imaginary line that runs parallel to where your camera

is pointing. When a point you are focusing on comes into perfect focus, that

means that point is now in your focal plane. So everything within that thin line,

up and down, left and right, will be in focus. Anything outside of the focal plane,
APERTURE
in front or behind, will be out of focus. The depth of field is how much is also
Aperture is the opening in the lens through which the light passes. It increases
in focus outside of the focal plane.
or decreases in diameter to let more or less light into the sensor. It is measured

in f stops and increasing the f stops closes the aperture blades further. So, the
It is an aesthetic choice. Some people love to use the focal length* and focal
higher the f stop, the smaller the aperture and the less light coming in. This
plane to enhance an aspect of the image. For example, when it comes to portrait
impacts the image’s depth of field.
photography, you may want your subject’s eyes in focus but everything else out

of focus as this will draw your viewer’s attention to the eyes.

It really is all a matter of what you are trying to achieve aesthetically. The techniques

that you are learning for a DSLR can be applied to your smartphone. There are

many smartphone apps that allow you to use the f-stop and control the shutter

speed. They are well worth buying and experimenting as the results can be

excellent.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 46 AN INTRODUCTION TO PHOTOGRAPHY

NARROW DEPTH OF FIELD WIDE DEPTH OF FIELD

The focal plane is represented by the vertical dotted orange line.

The depth of field is represented by the solid orange lines.

BACK TO CONTENTS BBC MAESTRO 47 AN INTRODUCTION TO PHOTOGRAPHY

F-STOP 2.8 F-STOP 11

This is a very wide aperture which means a very narrow depth of field. In other The in-focus areas of your image will be increasing as your aperture increases.

words, you will have a sharply focused subject and blurred background.

ALL IMAGES © RANKIN

F-STOP 5.6 F-STOP 22

As the aperture increases, more of the image will come into focus. This is a very narrow aperture which means a very wide depth of field. In other

words, you will have much more of the image in focus.

BACK TO CONTENTS BBC MAESTRO 48 AN INTRODUCTION TO PHOTOGRAPHY

One way to illustrate depth of field is to photograph a flower using a macro

lens* . This will allow you to really see the difference depth of field makes.

As a macro lens has an incredibly narrow depth of field and there is so much

detail in a flower it will be very easy to see the difference.

If you are trying to get everything in focus, the best option is to aim your focus

point dead in the middle. This means that the middle of your subject will be in

the focal plane.

When you are shooting digitally, there are presets in your editing software

© RANKIN
which will create a sharpening but it is better to take all of the sharpening off

to make sure you can tell if your shot is truly in focus.

F22 (TOP RIGHT)

F22
This is a very small aperture which means a very wide depth of field. In other

words, you will be able to get a large amount of the image in focus.

F2.8 (BOT TOM RIGHT)

Here you can see everything slightly softens apart from what is in the focal

plane* .

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

© RANKIN
F2.8

BACK TO CONTENTS BBC MAESTRO 49 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. Take your camera off auto if you want to create something unique.

. Learning the manual settings will give you control and free your ability

to be creative.

“
Exposure is controlled by ISO, aperture and shutter speed.

. ISO controls the sensitivity of your camera’s sensor to light.

. Aperture controls the amount of light that is let into the sensor.

. Shutter speed controls the amount of time the sensor is exposed to the light.
Take your camera off auto
. As each setting affects your exposure you may have to combine all three if you want to create
something unique.
.
to achieve your look without ruining your exposure.

Each can make creative effects that you may want to incorporate into

.
your image but you need to know how to control them first.

.
Depth of field determines how much of your image is in focus.

Depth of field is determined by the aperture. The physical distance between

the lens and your subject also affects the depth of field. The closer the lens

.
to the subject, the shallower the depth of field.

Understanding how to control the manual settings allows for endless variables

and possibilities.

BACK TO CONTENTS BBC MAESTRO 50 AN INTRODUCTION TO PHOTOGRAPHY

09. Lenses

HOW DO LENSES WORK? Photographers love to talk about lenses and a good quality one is important.

In the most basic terms, a camera is a lens on one side and a digital light sensor Maybe even more so than the quality of camera, so if you have the money to
on the other. spend, invest in a decent lens or two. They can be second hand as long as they’re

in good condition and they can last you for years if you look after them.

ZOOM vs PRIME

There are two types of lenses. These are prime and zoom. Both zoom and

prime lenses* have advantages and challenges.

Zooms allow you to change smoothly from a long shot to a close up by varying

the focal length. The advantage of the zoom is that it gives you flexibility and

lets you adjust your shot without having to change lenses. With that flexibility

comes disadvantages. They are often considerably heavier and slower* than

their prime counterparts.

Primes are often faster which refers to having a wider aperture. A wider aperture

allows the lens to focus on the subject but blur the background; an effect known

as bokeh*. That makes larger apertures popular with portrait photographers.

Prime lenses have a fixed focal length which means you can’t change the angle

of view* you are shooting at without changing lenses. If you want a close up you

are going to have to get closer, but what you lose in flexibility you gain in sharpness,

speed and portability.

The lens is simply a piece of glass that lets light in. The light passes through

the camera, hitting the sensor at the back, which then records this light to make

an image. * P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 51 AN INTRODUCTION TO PHOTOGRAPHY

Prime lenses are not cheap so make sure the lens is compatible with the camera

body. It is an expensive purchase to get wrong and there are adapters that can

make it work but make sure you have done your research.

Fast Lens* = A lens with a wide aper ture, this is typically anything under f.4.

Most fast lens open up to f.2.8 or f.1.4.

Slow Lens* = A lens without a wide aperture, they typically open up to a maximum

of f.4. A Zoom lens* is commonly a slow lens.

20mm – WIDE ANGLE OF VIEW

FOCAL LENGTH

Focal length is the optical distance from where the rays of light converge to

form the sharp image on the front of the lens, to the point where the image

reaches the digital sensor. It is measured in millimetres.

Focal length tells you the angle of the view which means how much of the image

will be captured, and the magnification which means how large the subject will

appear. The longer the focal length, the narrower the angle of view and the

higher the magnification. Conversely, the shorter the focal length, the wider the
200mm – NARROW ANGLE OF VIEW
angle of view and the lower the magnification.

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FOCAL LENGTH IN PROCESS

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 © RANKIN

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105mm 24mm

There are several differences between these two images. Most noticeably how Another crucial difference to note is that the shorter focal length distorts

separated the subject looks from the background in the 24mm compared with everything within the frame. This gets more pronounced the closer you physically

the 105mm, where both the subject and the background look quite flat. This means get to the subject. The subject’s face becomes much narrower with a shorter

that the longer the lens the more compressed the foreground and background focal length and becomes wider with the longer focal length.

become.

BACK TO CONTENTS BBC MAESTRO 53 AN INTRODUCTION TO PHOTOGRAPHY

These fundamental rules apply to your DSLR but they also apply to your smartphone

and on many of today’s advanced smar tphones you can swap between up to three

built-in lenses.

ALL IMAGES © RANKIN

77mm 26mm 13mm

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 TA K E A W AY S

.
MANUAL FOCUS

Focus is essential in all photography but never more so than with portraiture. A camera is made up of a lens and a digital sensor. The lens collects light

.
When you focus a lens manually, the lens shifts its elements until you get perfect from the subject and focuses it onto the sensor to form an image.
sharpness in a particular spot. Manual focus allows you, the photographer, to
There are two types of lenses: zoom and prime. Zoom lenses offer the
ensure the part of the image you want to be in focus, is. It might not always
flexibility to change your focal length without moving but are typically
be the subject you want in focus but unless you have control, the camera will

.
slower than prime lenses
decide. The manual focus controls allow you to separate your subject from the

background. A basic tip for humans is to look for that light in the eye. Prime lenses have a fixed focal length but are often faster and more portable

.
than zoom lenses due to their smaller size.

Focal length is the optical distance between the front of the lens and the

digital sensor. It determines the angle of view and the magnification

.
of the image.

Longer focal lengths compress the foreground and background while

.
shorter focal lengths often distort the background and subject.

Manual focus allows the photographer to control which part of the image

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.
is in focus.

.
A good quality lens is as important as the camera itself.

.
You can rent lenses or buy them second hand to keep the costs down.
You can also use your Focus magnifier function to magnify the image to make

sure it is in focus. Make sure you do your research and whichever lenses you buy are compatible

with your camera body.

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10. Challenge 2: Manual

This is where the learning truly begins. Get those cameras off auto. It is your

first real opportunity to set your creativity free and start to find out what it

is that makes a photograph speak to you. Using the same subject as before,

work through each of the manual settings to explore the different results each

can give you. There are an endless series of combinations and once you’ve

mastered the basics, they will allow you to push your images into new places

creatively.

A tip: for one session, keep everything else on the same setting and only alter

the aperture. See where that takes you. For the next session; focus on exposure.

Concentrating on one setting at a time will create a solid foundation to build

“
upon as you learn and grow in your skills and confidence.

A huge advantage to not being on film means you can take as many shots as

you feel the need to, so use that.

What is the most interesting image, the most powerful faces you can capture
By using manual controls
when you and your camera are set free?
you can find that focus,
Compare your results and keep a note of what works for you.
you can separate your subject
Don’t forget to share them with BBC Maestro on social media, tag @BBCMaestro from the background
and @Rankinarchive and remember to use the hashtag #RankinBBCMaestro.

Share your images and creativity to learn and encourage others. and a basic tip for humans
is look for that light in the eye.

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11. Introduction To Lighting

“
The word ‘photography’
comes from two Greek words:
photo meaning ‘light’,
and graphos meaning
‘writing’ or ‘painting’.

There are three main different types of lights that photographers use that, when
you learn how to harness them, will unlock new creative powers.

The first is daylight, light that comes from the sun. It varies wildly in brightness,
colour and quality. The light varies with the time of day, giving us different looks
such as blue hour or golden hour* or harsh light during the day or softer light if
it’s overcast.

The second type is flash* . This is quite common among studio photographers.
This is a device you sync with a shutter using a trigger to produce a short burst
of light. It helps freeze the subject you are photographing so you can get a much
sharper image. You can combine both daylight and flash together if you need to
add light to your image.

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 The third type of light is a constant light. There are many different types of

continuous lights from tungsten* which is a rich golden glow to daylight which

is a much cooler light. Constant lighting stays on all of the time as opposed to

flash lighting.

The huge advantage of using cameras is that there are no hard and fast rules.

If you like it, then it works. Experimenting with light is the way to learn how to

get the most out of it.

TA K E A W AY S

. Lighting is key to creating an image.

. The cost that comes with shooting on film forces you to consider the lighting

of each shot carefully and hones your skills until they are second nature.

. You can study how light functions easily at home right now. So, get started.

EXERCISE

U N D E R S TA N D I N G T H E L I G H T

Find a spherical object (for example; an orange or an apple) and a torch. Begin

with the torch on the top of the object and analyse what it’s doing to the object.

Then move the light to the different positions around the object. Spend at least

30 minutes studying what the light does to the object. Replace the fruit with

human subjects and you will be on your way to learning the basics of lighting.
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This will help you to understand the light and how it shines on objects.

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12. Studio Lighting

David Bailey once said, ‘God only created one sun, so why would you want to

use more than one light?’, emphasising the idea that a single light source is all

you need to create an outstanding photograph. This can apply whether you are
THE THREE RULES OF LIGHTING
inside a studio or not, as a window, or even daylight against a wall, can serve
There are three fundamental principles when it comes to lighting that underpin
as a single light source.
each step you will take to light your subject:

1. Light travels in a straight path/line.

.
W H AT Y O U W I L L N E E D

2. The closer the light is to the subject, the greater the illumination, meaning

.
Your camera
the stronger the light.

.
A single light source (e.g. spotlight, flash, table lamp)
3. T h e l a rger t he l i ght so urc e, t he so f t er t he q ua l i t y o f t he l i ght

.
A light stand or tripod
(as it is more dispersed).

.
Reflector or reflective and non-reflective objects (white and black card or paper)

Diffusers

. Your willing subject

1. LIGHT TRAVELS IN STRAIGHT LINES

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 M Y W AY O F L I G H T I N G

STEPS

1. Your first step is to choose your light source, preferably a direct light. This

could be a flash or a continuous light. If you are at home, a direct table lamp will

also work. Hard lights* like spotlights will produce strong shadows and highlight

textures and shapes in the subject. Direct, hard light sources can be softened

by diffusers to reduce the shadows and create a more natural, flattering effect.

2. Place your light source on a light stand, at a 45-degree angle to your subject

above your camera. If you are using a continuous light source, make sure it is

bright enough to illuminate the face. If you are using a flash, test out your flash

first to set the power to the right level for your desired exposure.

2 . L I G H T D I S TA N C E 3. Position your subject in front of the light source, facing the camera. Make

sure their eyes are in focus and well-lit.

4. Different light sources have different temperatures. There are white balance*

presets on your camera that are made for each different type of lighting you

will encounter. Set your white balance to auto for now. If you are sticking to one

light source, your camera will adjust itself to the correct setting. Any additional

changes can be made in post-production.

5. Experiment with the angles and positions to create different moods.

6. Use a reflector or white surface to create more light on the face and reduce
shadows. Place the reflector between the camera and subject and angle so
that the light will bounce* off the reflector and onto the area of the subject you
want to fill. It’s also good for putting that glint into your subject’s eye. You can
prop it up or use a stand or even the subject themselves to hold it in place.

3. HARD LIGHT vs SOFT LIGHT

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7. If you need to block light out, you can use a negative fill. This can be a black SIDE (DIRECTIONAL) LIGHTING
cloth or card that can be used to cancel out any unwanted light coming from With side lighting, you are illuminating one side of the image while leaving the
other light sources or bouncing off surfaces. Place the negative fill in between other side in shadow. The light is placed at a 90-degree angle to the subject,
the unwanted light and your subject. creating a strong contrast between light and shadow for a dramatic look.

.
MY TOP TIPS

.
To create more contrast and shadow, use a hard light source like a spotlight.

Use a diffuser such as a softbox* or umbrella* to diffuse a hard light source

.
to create a softer effect.

When it comes to reflectors and diffusers there are a variety of different

options at different prices. You can also use whatever you have to hand.

.
It’s the end result that matters, not the amount you spend.

Pay attention to how lit your background is. It is an integral part of your

.
image.

Turn off any indoor lights. They will interfere with your main source

and impact your final image. Stick to the ones you can control.

LET THERE BE LIGHT(S)

There are a variety of other lighting techniques you can try, especially if you want
to create photos with lots of shadow and contrast. Here is a quick overview of

just a few you might want to look into…

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BACK LIGHTING* (1) BACK LIGHTING (2)

With backlighting, you place a light behind your subject, facing the camera. You can always bounce or use soft light in front of your subject if you want

This creates a halo effect, separating them from the background. It can create to see your subject more clearly.

softer images and silhouettes.

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REMBRANDT LIGHTING B U T T E R F LY L I G H T I N G
Created by placing your light at a 45-degree angle to the subject, slightly above This effect is created by placing the key light directly in front of the subject and
their eyeline. This creates a small triangle of light on the opposite cheek. It is above their eyeline. This creates a butterfly-shaped shadow under the nose.
used to create depth and dimension in a subject’s face and was based upon I t w a s w id el y used d ur i ng t he 1930s a nd 1940 s i n H o l l ywo o d a nd ensured
the single source of light Rembrandt used, such as a candle or a skylight, in his
glamorous portraits of all the stars.
portraits in the 18th Century.

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 KEEP ON LEARNING

LOOP LIGHTING BROAD LIGHTING

With loop lighting, a light course is placed slightly higher than the subject’s I n t h i s l i g ht i ng t he subjec t need s to be f a c i ng sl i ght l y a way f ro m c a mera .

face and angled towards it. This creates a small shadow of the nose that This way they have a broad side of their face (the side you can see more of)
and a short side (the side you can see less of). For broad lighting, place the
touches the shadow of the cheek, adding dimensions to the face.
light on the broad side of the face.

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SHORT LIGHTING HIGH KEY LIGHTING*
As you might guess from the name, short lighting is the opposite of broad With high key lighting, you will use multiple lights to fill the whole image with light,
lighting. The subject is still facing slightly away from camera, but this time an overall bright image with very soft shadows, if any, anywhere in the frame.
light the side of the face you can see the least of.

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LOW KEY LIGHTING

You guessed it, low key lighting is the opposite of high key lighting. The focus here

is to create a dark, moody image with very minimal soft light on your subject.
“The challenge is always
how to use the light
and bend it to your will.

TA K E A W AY S

. You only need one light to create outstanding portraits.

. Turn off any additional lights in the room and block out natural light*

if you’re not using it.

. You can keep your white balance on auto if you are using a single light source.

. There are many lighting techniques to try. It’s all about experimentation

and personal preference.

EXERCISE

Take test shots of each different style you try. Play around with the distance,

angle and intensity of your light. Keep a note of the settings you used on each

shot to compare afterwards. These test shots will be an invaluable tool to refer
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back to as your lighting skills develop.

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13. Natural Lighting

Even if you have a professional studio, it is essential you learn how to effectively T H E F U N D A M E N TA L S

use natural light. When you use natural light creatively it can enhance your Natural light has both advantages and challenges:

storytelling. It is one of the most powerful tools for creating beautiful images

.
A D VA N TA G E S
and there are fundamental principles that will help you harness the ever-changing
It is free and easily found which means expensive equipment
natural light to create arresting portraits. You will always be at the mercy of
is not required.

.
the weather and learning the fundamental rules of natural lighting will help you

adapt and maximise the possibilities. It changes according to season, weather and time of day creating

“
different colours and contrasts within your images which can be used

to create different narratives.

. It is an excellent way to learn about light.

When you use natural light

creatively it can enhance .
CHALLENGES

.
You cannot control natural light, only work with it.

your storytelling. You can’t guarantee your lighting will be consistent when Mother Nature

.
is in charge.

Shooting outside puts you at the mercy of unpredictable weather

conditions.
When we talk about natural light, we are referring to the light from the sun,

the moon, the stars, firelight or any other natural source as opposed to the

artificial light that comes from lamps or flashes. It can be used indoors via

a window or outdoors and it can create different moods and effects in your

portrait photographs and changes depending on the time of day, the weather

conditions and the direction and intensity of the light source.

Natural light can be soft and diffused or harsh and directional and, as you learn

how to manipulate the light, it can enhance the mood and feel of your image.

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COLOUR

Natural light changes colour depending on the time of day you are shooting. There are three main shifts in light throughout the day and each can be used to
This is called the colour temperature* . your advantage if you have the know-how. Twilight* , golden hour and midday:

“
TWILIGHT
This is the 20 minutes or so before the sun rises and after it sets and is also

referred to as Blue Hour.

On a different day with different GOLDEN HOUR

This is the period of time just after the sun rises, and before the sun sets,

lighting, we're going to have where the light turns warmer, bathing everything in orange and red tones.

M I D D AY
completely different results. This is when the sun is at its highest point in the sky, creating a hard, direct

light that can create dramatic shadows.

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INTENSITY

Intensity can alter dramatically, depending on many variables including the

season, the weather and the time of day. The light will be at its most intense

during the midday summer sun which will create dramatic shadows. Cloud cover

will soften the light and in the winter months the sun appears lower in the sky,

casting longer shadows.

QUALITY

Light can be hard, soft or reflected. Although you can’t control the quality of

natural light, you can modify it.

HARD LIGHT

You will get a hard light under the midday sun. This light often intensifies the

colours, creates dramatic shadows and can make a subject look flat* if used

as a front light.

SOFT LIGHT

A soft light will have the opposite effect to hard light. Soft light is created

naturally when you are shooting outside in cloudy conditions as the clouds

act as a natural diffuser, spreading the daylight and making it less intense.

The gentle shadows created by a soft light can be used to create flattering

portraits.

REFLECTED LIGHT

This is when the natural light is bounced off a light-coloured surface back onto

the subject to create depth. You can use purpose bought reflectors, walls

or cardboard. Whatever works for your budget as long as it gets the job done.

Reflected light spreads the light and creates a soft glow on your subject and can

be used to highlight areas in shadow and highlight the light in your subject’s eyes.

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LO C AT I O N

If possible, identify your location before your shoot. You want to make sure you

have somewhere that will provide the quality of light you need for your image.

You will need to consider the position of the sun and any buildings or trees

that might block or reflect the light. If you plan to shoot in a forest, you will be

working with diffused light and may need to bring a reflector to make sure your

subject is properly lit.

INDOORS

When indoors, your natural light source will be a window and there are a few

simple steps to follow to achieve beautiful results:

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Position your subject close to the window.

. Make sure the light is falling on their face, unless you are using the

window as a backlight.

. Change your, and your subject’s angle, distance and position to get

the look you want.

. You can use a reflector to illuminate any areas that are still too dark.

. As with shooting outside, time of day will play an important role.

. Turn any additional lights in the room off as they will impact the colour

of the natural light..

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.
OUTDOORS

.
Be considerate of your subject, is it too hot or too cold?

If you will be shooting outside all day, be mindful of the moving sun

.
and sunrise and sunset timings.

Use the hard, direct light of a sunny day to emphasise shadows, lines,

.
patterns or textures.

Avoid harsh light and shadows in the midday sun by shooting in the shade.

The sun passing through objects or foliage to create interesting patterns

.
and directional light.

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Be aware that if you use a coloured reflector, it will reflect that colour

back onto your subject. So if you want to match the natural light, use

the correct colour for the correct time of day, white for daylight, gold

.
for golden hour, silver for twilight.

Be aware that too much light reflected back onto your subject will create

an unrealistic feel from natural light.

Don’t be afraid to take risks. Lighting is subjective and the only way to discover

what works for you is by trial and error. That is where the real learning happens

for all of us.

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 TA K E A W AY S

.
.
Natural light is a powerful tool for creating beautiful portraits.

Natural light refers to light from natural sources such as the sun,

.
moon, stars and firelight. It can be used both indoors and outside.

There are four main areas to consider when it comes to natural light:

.
direction, colour, intensity and quality.

Understanding these attributes will allow you to adapt to changing

.
weather conditions and to harness them to create powerful images.

Direction, colour, intensity and quality can all be manipulated using

.
reflectors and diffusers to alter the mood of your image.

Scout your location in advance and use the environment to your

advantage.

“ Harness the ever-changing

natural light to create
arresting portraits.
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14. Challenge 3: Lighting

Have a search online, look through magazines and go to galleries. Find two

or three portraits that you love, ones that show different styles of lighting.

Now try to recreate them. You will need to study those portraits. Check out the

shadows on the noses and the highlights* in the eyes for clues. See how close

you can get.

“
Soft, overcasting lighting
is brilliant because you can
pretty much shoot anywhere
with it.

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15. Preparation

Preparation is everything in photography. It’s the key to every successful shoot. . Take your camera with you to take test shots with different lenses.

As the old adage goes ‘fail to prepare, prepare to fail’. But what does ‘being
. If you can’t go in person, use online tools to suss out the location.

.
prepared’ really mean?

Charge your batteries ahead of time. You do not want to hold proceedings

One of the essential parts of the job of photographer is problem solving. Most up and potentially miss that one great moment because you didn’t charge

of a professional photographer’s time is actually spent coming up with creative the batteries the night before.

solutions to the bumps in the road that happen all the time.

THE SHOOT

PRE-PRODUCTION
.
First thing…

Ensure you have all the kit you need and that it is all in working order.

.
It can be a challenging job and there are always difficulties to be overcome…

and those difficulties can suck up the time and leave you struggling to get the This includes the lenses you will need and any additional lighting.
shot you want to take. But you can save yourself a lot of time and stress if you
.
.
Make sure your batteries are charged. Bring backups!

.
follow these steps:

Take time to work out what potential issues might arise, from access Dress for the weather if you are outdoors. You don’t want to get caught
to locations and parking your car, to variable weather conditions in the rain with no wet weather cover… for you or your kit. Take additional
and kit malfunctions.

.
wet weather cover for your subject, just in case.

Create a kit list.

. Work through the issues and devise a plan and solutions in advance,

such as booking parking near to your location, and planning wet weather
Careful planning frees your creative brain to focus on the shot. It allows you to
focus on your subject rather than worrying about your kit not working, lighting
being off, or where the car is parked. All the little things can derail a shoot and
alternative options. could have been sorted beforehand with a bit of thought and planning.

. Interrogate your ideas by doing test shots.

.
When it comes to ideas and concepts, always arrive at the shoot with options.

Get feedback from those test shots and use what you learn. But be open to ideas from other sources. The best shoots are always a collabo-
ration with set designers, stylists, makeup artists and the subject themselves.
Learning from mistakes at this point will save so much time on the day.

. If you are not in a studio, recce your location to uncover as many

of the potential issues that you can.

But when you are behind your camera, ready to shoot, let your instincts guide
you. Allow for those magical moments where the spark of an idea can take you

somewhere brand new and bring out an entirely original idea.

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 When you have everything prepped, it gives everyone the confidence to know

the basics are covered. It frees your creativity. That is the sweet spot.

Again, charge your batteries!

TA K E A W AY S

. You will waste precious shooting time if you don’t pre plan and problem

solve in advance.

. Take test shots before the shoot to see if your ideas and choice of lens

and lighting hold water.

“
Be open to ideas from other people.

. Follow your gut and grab those serendipitous moments when they arise.

EXERCISE
Careful planning frees
your creative brain to focus
Your next task is to create your own shoot check-list. This will be your bible from

here on out. You will be able to return to this check-list before each shoot, it will on the shot. It allows you
give you peace of mind and reassurance that you have everything covered. Save

it somewhere safe. The key to a successful shoot is the preparation and this list to focus on your subject.
will get you on the right track straight away.

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16. Visualising Your Idea

Ideas are king in the creative industries. But there is no point having an idea

that simply stays in your head. You want to see your ideas come to life and

often that will mean collaborating with fellow creative talents. The range of

people you can collaborate with is as wide open as your imagination but it is

essential that you are all pulling together for a shared vision.

MEET HEIDI NORTH

Heidi North is one of the UK’s top makeup artists; working across the fashion

and music industries. Her first love was Fine Art and she channels her passion

for painting into her craft.

As a makeup artist working with the leading photographers, brands and celebrities

today, Heidi understands the importance of creating a shared vision for the team

through the use of mood boards.

Ideas can come from anywhere but are often a collaboration between the client

and Heidi. Her years of experience have created a well of inspiration. Often the

idea begins with a theme and it begins to take form through making a mood board.

Inspiration for your mood board can come from anywhere. The most important

mindset you can have is to stay open and see the possibilities in the world

around you, be that online or in person.

A visual reference allows you to explain your ideas to someone else as directly

as possible. Often when an idea feels new, it is difficult to convey the concept

with words. Images and drawings allow you to bypass the limitations of words to

create a feel and a mood that often cuts straight through to the heart of the idea.

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 TA K E A W AY S
A mood board can be made up of images, drawings, fabrics and words. Anything

that will help express your vision for the mood and feel of your project to your . It is important to prepare for your shoot but often the best ideas will happen

spontaneously in the moment. Make the most of those moments.

collaborators. Today, they are often done online on websites and apps like

Pinterest which has made collating imagery from across the internet quick and
. Feedback is important and strengthens your work.
easy. But they can still be created by hand, cutting out images from magazines,

exhibitions, photos, fabrics, sketches and words and sticking them to a board. . Your model is an important part of the process and should be included in

the ongoing collaboration while you are shooting. The best ideas are always
Whether the board is physical or digital, it will become an essential tool for

communicating your idea and getting others involved on the same page. evolving even during the shoot.

It is important to note that you do not have to shoot what is on the mood board.
. Don’t be scared to experiment and push it as far as you can. This is where you

learn what is possible and what you are capable of.

It is a starting point for the team and should evolve and allow you to go off

in different directions. It is all about the experimentation both pre and during . Mood boards are easy to make and an invaluable tool for creating standout

the shoot. Be flexible and open to where the idea will take you and be actively images.

“
seeking feedback on your work. Your subject will play an essential role in the

final image and will often bring many years of experience and ideas to the

shoot that can enhance your idea. That will ensure you are pushing yourself

and learning every step of the way. Ultimately it will help you create unique and

arresting images.
A lot of people think mood
boards are about copying
www.heidinorthmakeupartist.com
an idea... It's a starting point
and should allow you to go
off in different directions.

BACK TO CONTENTS BBC MAESTRO 77 AN INTRODUCTION TO PHOTOGRAPHY

17. Challenge 4: Moodboard

This exercise allows your imagination to run free. Your next task is to make

a mood board. You can get the scissors and the glue out if you want, you

can use Pinterest or another app/website that lets you create your own mood

board. But you should be as specific as you can be. Your goal is to express the

vision you have in your head.

Below are thematic prompts to inspire your creativity:

. One prop, different people

. Love is complicated

. What is beauty?

. In motion

. Stripped back.

“
Anybody can do a moodboard.
If I can do it on an app,
anyone can do it on an app.

BACK TO CONTENTS BBC MAESTRO 78 AN INTRODUCTION TO PHOTOGRAPHY

18. Creative Collaborations

Photography can be incredibly collaborative across every stage of the process. There will be occasions where you will not know who you are photographing in

Your mood board plays an essential role in that collaboration, bringing the team advance. When that happens, you must be prepared to adapt to the situation,

together to ensure everyone is working towards the same vision, whichever area working with your team and your subject towards a reimagined vision. This is

of photography you are working in. when your skills and constant dedication to practising will come to the fore.

The relationships you will have built up with your creative collaborators will

YOUR MODEL allow you to explore alternative options with confidence, knowing what will

Two genres that share many features are por trait photography and beauty work in any given situation. It will give you the confidence to trust your judgement,

photography. Both can involve a huge amount of collaboration across the team; direct your team and create an original image together. A photography shoot is

from the makeup artist to the studio assistants, if you have them. a dynamic environment and your ability to respond creatively is what will make

your work standout.

The model in particular, just like any portrait subject, is essential to the process.

In a beauty shoot, your model will be the canvas on which the idea will be C O M M U N I C AT I O N I S K E Y

brought to life. While in portrait photography, your subject is central to the Challenges can arise when you are working collaboratively. Often a subject will

story the image is telling. have a fixed idea about the way they want to be seen. This can also be true

when you are working towards a brief from a client. Each layer of input can

It is rarely conventional looks that draw a photographer to a subject. It is bring with it further conversations about the ambitions for the final images.

someone’s personality and enthusiasm for the process that really mark out This is where your communication skills will come to the fore, as it is your

a good model or subject. job as the photographer to bring everyone together, working towards a shared

vision.

If you know who your model or subject is in advance, you can plan accordingly.

They will have a h u g e i mp ac t o n th e c h o i ce s yo u w il l m a ke to co n vey t h e Creative collaboration hinges on communication. It is your responsibility as the

nar rative yo u are tel l i n g . Wh i l e yo u mi g h t co m e to t h e s h o o t w a r m e d w it h photographer to ensure that is happening across your team. There are a few

a mood board everyone has fed into; you can’t always transfer that idea directly rules of thumb you can follow to make the process as smooth and productive

onto your subject. as possible:

BACK TO CONTENTS BBC MAESTRO 79 AN INTRODUCTION TO PHOTOGRAPHY

. Start the conversations as early as possible to allow time for
.
TA K E A W AY S

.
preparation; the key ingredient of a successful shoot. Your model or subject should play a crucial role in the collaborative process.

. Give constructive feedback throughout the process. Your model’s personality and commitment to the process are much more

. Be open to good ideas; wherever and whomever they may come from.
.
important than looks.

. Be respectful of each person’s expertise in their field.

.
You must be adaptable and prepared to change your vision if needed.

A solid foundation of skills created through constant practice will give you
the confidence to respond creatively in a changing situation and lead
BE BRAVE

.
your team towards a new vision.
There are some photographers who prefer to avoid collaborations because they

.
are unsure of the final results. A prime example of this is the fear of utilising Communication is key to creative collaborations.

a makeup artist’s more creative skills. Many photographers prefer a stripped

.
Respect each team member’s expertise and utilise their skills.
back, natural aesthetic simply because they are just not sure what can be

.
Give and seek honest, constructive feedback.
achieved. They are missing an opportunity that you should embrace. Working

with a makeup ar tist can be an imaginative, creative experience that often Experimentation is not something to be scared of. Enjoy it and see where
produces extraordinary images. it leads you.

Experimenting is half the fun when it comes to makeup, hair and styling. If you
EXERCISE
are nervous, start with a natural look and once you are happy with the image you

have created and you know you’ve got the shot, try something more experimental.
FIND YOUR SQUAD
It is a risk-free opportunity to stretch yourself and discover something new that
The first step in any creative collaboration is to find like-minded people you want
might spark further ideas.
to work with. The people you collaborate with will push you in new, unexpected
directions and you will do the same for them.

Is there anyone you already know who you would be eager to work with? It can
be a friend of a friend or maybe it’s someone in your local area who has been
doing work you admire? Make a list and find their contact details. You don’t
have to approach them yet. But this will ultimately be the beginning of many
fruitful relationships that will provide a rich well of ideas and inspiration as

well as a valuable support network.

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19. Getting The Most
Out Of Your Subject

One of the biggest privileges of being a portrait photographer is the opportunity reputation and lose future clients. You must treat everyone with the respect

it gives you to meet so many different people across all walks of life. The most they deserve and hopefully you will be shown that same respect in return.

important prerequisite for the job is to possess a passion for people and for find-

ing that unique aspect of who they truly are. Each person is an original and you S AV E T H E D AY

should adapt your approach to ensure you get the best out of the collaboration. Occasionally, you will find yourself in a situation where your subject is unhappy
or upset and you’ve got to deal with that. While this is, hopefully, not your fault;

RESPECT as the photographer it is your responsibility to find a way to make it work and

David Bowie died at the age of 69. He only had just over twenty-five thousand produce a brilliant portrait at the end of the day. You’ve got to take those problems
and turn them into solutions so that the person has given you something and
days here with us and he spent one of those days having his photograph taken
walks away talking about you positively after the shoot.
by me. When you are taking a portrait, you have to remember that out of all the

days in their life, they are giving one to you. You both have to respect that fact.
PRECONCEPTIONS
When you have that mutual respect, you can create great things together.
When you are commissioned to take a photograph, you are looking for an idea
before you walk into the room with the subject. But even with a head full of
DEALING WITH MOODS
ideas, it is far more important that you are ready and willing to be mailable and
However, it doesn’t always work like that. Sometimes people arrive in a bad
pivot because sometimes people surprise you. When I photographed Jay Kay
mood. The best attitude to adopt is one of compassion. You never know what
from Jamiroquai, I thought he was going to be an idiot. I was wrong. He turned
personal challenges each of us are dealing with. You should never judge people
out to be the most charming man I’d ever met. I realised it was a public persona
based on what they are like in one single moment.
that the media had perpetuated. If I was going to take a great picture of him
I would need to show what I saw objectively in the moment and not what the
As photographers, our job is to try and get them into a place where they feel
media had placed on him.
comfortable to give us something. By hook or by crook you have to try and

make it work.
GE T TING THE BEST SHOT
It is important to make your subject feel comfortable. You want them to feel
Another essential part of the process is known as ‘The Circle of Trust’. What and look good but, above all else, you want to take the best shot you possibly
happens on set should stay on set. You should never spread rumours and gossip can of them. That can mean pushing someone out of their comfor t zone,
after the shoot. That is the quickest and most efficient way to destroy your own including yourself.

BACK TO CONTENTS BBC MAESTRO 81 AN INTRODUCTION TO PHOTOGRAPHY

You will need to work hard to get the best out of each portrait and you need to

create the right atmosphere for that to happen. You can do that in lots of different

ways, from using your subject’s favourite music to simply making sure you

are communicating and responding to their individual needs. Ask your subject

questions and then really listen to the answers. Building this rapport is essential
“
What our job is, as photographers,
is to try and get them into a place
where they feel comfortable to
and it always pays off in the end photograph. Trust and communication is

always key. give us something. And by hook

LET IT GO or by crook - it doesn't matter.
Having an idea before you go into a photographic session is super important

but if the person is very different from the idea you’ve got; you’ve got to be
You have to try and make it work.
able to let it go. You can’t hang on to those ideas. If you’re a photographer

who can’t adapt to the changing situation then you will find that, sometimes,

your sessions won’t go right. That’s why you have to understand many different

photography techniques. It will give you a solid foundation to draw upon when TA K E A W AY S

those moments, and the need to adapt, arise.

.
.
You should always treat each subject with respect.

PERSISTENCE IS KEY Show compassion for your subject, even when they are not forthcoming

.
When you first start out as a photographer one of the things you have to realise or in a bad mood. Your end goal is to create a compelling portrait.
is that you’ve got to have a bit of front, you’ve got to be confident, you’ve got to
You should maintain professional confidentiality both during and after
be cheeky, you’ve got to be persistent. ‘No’ and doors slamming cannot put you

.
the shoot.
off. You’ve got to keep pushing and pushing and eventually that one door will

open. Of course, when you get that opportunity, don’t mess it up. Create an atmosphere that allows your subject to open up and respond

.
to the process.

Be aware that your preconceptions of a subject may well be wrong

.
and be open to being surprised.

If you don’t ask, you don’t get. Develop a confident persona and go ask

for what you want. Don’t give up easily.

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 TA K E A W AY S

G I L E S D U L E Y A N D T H E I M P O RTA N C E O F C O N N E C T I O N

As a triple amputee working in conflict zones, Giles has a unique set of challenges
. Everyone is different and you will find your own way of working with your

.
contributors.
a n d a d v a n t a g e s to w o r k w i t h w h e n p h o to g ra p h i n g p e o p l e . W h e t h e r h e i s
There is a spectrum of photography running from visionary to reactionary
photographing celebrities or covering conflicts; Giles is a portrait photographer

.
and everyone lies somewhere between the two.
first and foremost. His passion will always be people and that is what he channels

into his work. Time spent getting to know your subject will result in a much more

.
interesting image.
For Giles, there are two types of photographer; the reactionary and the visionary.
Sometimes you have to leave your camera in the bag and just listen.
The visionary includes photographers like Nick Knight, people who have an idea

“
and mould their model into their vision. Giles is a reactionary photographer. This

means he reacts to the person or scene in front of his camera and captures that

moment. He is fascinated by people and photography allows him to get to know

his subject. His work always starts with the relationship with the person in front

Everyone deserves respect.

of his camera and he builds that through creating a human connection. The

taking of the shot is the simple part. It is the time spent investing in getting

And the respect you give them,

to know your subject before that moment that creates the most interesting

images.

Giles has found a unique way of connecting with his subjects, through food.
hopefully will be given back.
Giles often cooks and then eats a meal with the people he wants to capture on

camera. This allows him to build relationships and encourages his subjects to

see him not just as a photographer there to take something from them but as

a fellow human who wants to bring their stories to the world.

THE ONE-ARMED CHEF

Giles has created a six-par t documentary series with Vice TV featuring his

international adventures in cooking. It is essential viewing.

BACK TO CONTENTS BBC MAESTRO 83 AN INTRODUCTION TO PHOTOGRAPHY

 K E N K A M A R A A N D T H E I M P O RTA N C E O F C O N S E N T

Ken Kamara always asks for permission when creating a portrait. It is essential

to be able to get as close as he does. It becomes a conversation and without

that the photographer is doing little more than speaking at the subject.
“
Having an idea before you go
into a session is so important,
but if the person is very different
You are the conduit between the subject and the audience. As the photographer

you need to get your subject to a place where they are comfortable with you
from the idea you've got,
and will work with you to create a portrait. you've got to be able to let it go.
You can't hang onto those ideas.

TA K E A W AY S EXERCISE

. Collaboration is essential with portrait photography. It should always be

BUILDING TRUST

As a photographer, you should never be quick to judge your subject. Rather, you

.
a conversation.
should always be curious to find out their story. The best portrait photographers
You are not the final viewer of the portrait; you are a conduit between understand that a photograph is a dialogue between you and your subject. It is

.
the subject and the audience. this ability to connect to each person and see beyond the facade we all put up

that will help you create a memorable, insightful portrait. It is a skill that may
You can learn so much from your subjects if you are willing to listen.
come naturally for a few people but most of us need to practise.

This exercise is a tale of two por traits. Find a willing subject and take their

photograph. Now sit down, grab a cuppa and have a chat. It can be in the form

of an interview or it can be a more relaxed gossip about anything and everything.

Take their portrait again. Can you see the difference between the two images?

Which is better? Share them online with BBC Maestro.

BACK TO CONTENTS BBC MAESTRO 84 AN INTRODUCTION TO PHOTOGRAPHY

20. In The Studio With Rankin

It is always exciting when you are shooting somebody’s portrait, whether you DIRECTING YOUR SUBJECT

are at home, on location or even in your own professional studio. The buzz and There are lots of different ways to make your subject feel comfortable and help

anticipation never disappear. Wherever you are working, it is important to have them feel that they can work with the camera. One option is to give your subject

done all your preparation in advance and be poised and ready to get to work as something to lean on, like a table or the back of a chair. This helps by creating

soon as your subject arrives. a distance between the person and the camera. It also frees the subject from

having to worry about where they put their hands and creates a dynamic that

Yo u s h o u l d a l w a y s b e c r e a t i n g t h e r i g h t a t m o s p h e r e f o r t h e s h o o t . E a c h feels much more like a conversation.

photographer will have a different idea of which approach is the most beneficial

for their own way of working. The assumption is often that conversation is between your subject and you as

the photographer, but the camera is what they are emoting too. Whoever you are

GOOD TO GO working with, encourage them to picture the lens as a window and they are talking

The studio should be set up and ready to go as soon as your subject arrives. to somebody they like through that window. Photography is a very intimate thing

The basic set-up in the studio includes a soft light and two boards on either between the subject and the person looking at the photograph. This helps to

side of the subject to stop any outside light impacting the light on the subject’s create that intimacy for the viewer.

face. The only light source that should be in the space are the ones you are

intending to use for the shoot. Direct your subject as you go and encourage them to try different poses and

movements. Be open to their ideas. The key is to create a playful, fun atmosphere

Tr y to k e e p t h e t e c h n i c a l c h a n g e s to a m i n i m u m to a l l o w y o u r s u b j e c t to where you’re both open to trying new things out.

concentrate and to make sure they don’t feel overwhelmed by the process. Very

few people truly like being in front of the camera and if you keep that in mind You are asking your subject to show you a part of themselves. That can be

and ensure you put your subject at ease then you will get far better results. You showing how they are feeling in that moment, a hidden side of their character

should be aiming to create an environment where the subject can forget all the or a physical attribute that encapsulates something of who they are deep down.

technical aspects and focus on the shoot. Encourage your subject to try to explore different moods and emotions.

BACK TO CONTENTS BBC MAESTRO 85 AN INTRODUCTION TO PHOTOGRAPHY

 “
I think of my portraiture
as a collaboration...
What I'm trying to do,
is make something together.

These images show the variety of photographs taken in the lesson where

Rankin and his subject ‘Roxxxan’ collaborate together and build a relationship

where Roxxxan becomes open in front of the camera so Rankin is able to take

a selection of portrait photographs of her.

ALL IMAGES © RANKIN

BACK TO CONTENTS BBC MAESTRO 86 AN INTRODUCTION TO PHOTOGRAPHY
 ALL IMAGES © RANKIN
BACK TO CONTENTS BBC MAESTRO 87 AN INTRODUCTION TO PHOTOGRAPHY
 ALL IMAGES © RANKIN
BACK TO CONTENTS BBC MAESTRO 88 AN INTRODUCTION TO PHOTOGRAPHY
C O L L A B O R AT I O N TA K E A W AY S

.
A key aspect of the process is showing the subject the shots you are taking.

Not everyone does this but a collaborative approach often brings about the You should be set up and ready to go before your subject arrives.
best results and fosters good working relationships that could mean repeat

commissions in the future.

. Put your subject at ease by creating a relaxed environment and encouraging

them to experiment with different poses and movements.

As you look through the images you have shot with your subject, you can select

the best images and use the post-production tools on the software to edit the
. A collaborative approach will bring about the best results and will foster

fruitful working relationships.

image together. If you are viewing the images together, it is important to consider

it a collaboration and not take the feedback personally. The aim is to create the
. Everyone has their own insecurities and as a photographer, it is important

to take that into account when someone is in front of your lens.

.
best image possible and you are on the same team.

The aim of your shoot is to create memorable portraits that capture something
INSECURITIES unique and unseen.

“
There are so many shy people out there and most people will find it difficult and

awkward to be in front of the camera. Even celebrities, supermodels and world

leaders, who have spent a lifetime being photographed, can shy away from the

lens. Every single person has their own insecurities and as a photographer you

have to take that into account.

Having a leaning table
It can also be incredibly difficult to create something new with someone who has

been photographed time and again. But often there will be a completely different
or back of a chair helps
and unseen side of that person. The challenge is for you to draw that out and create

a memorable portrait that captures something the previous photographers have

the model feel like
never captured before.
they're talking to someone.

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21. The Other Side Of The Lens

The success of a good portrait hinges on the relationship you form with your Some photographers do view each shot on a monitor as they take it, often in

subject. If your relationship is built on trust, then your subject will be much front of their team. They then give the subject feedback in that environment. This

more open to trying new approaches. This will mean they will be more willing can feel much more personal and will make the subject feel self-conscious at

to show you a side of themselves to which other photographers may not have best, potentially causing them to freeze completely.

been privy. It’s these relationships that will often be the most fruitful and will

hopefully result in long term collaborations. DIRECTING YOUR SUBJECT

Giving your subject specific, clear direction builds their confidence. In a studio

E M PAT H Y situation, your subject will be aware of the team in the room and their mind will

Even fruitful collaborations can have their ups and downs. Everyone finds it often be wondering what the team is thinking. This will take them out of the

challenging to be in front of the lens and understanding that perspective will moment. To avoid that occurring, you will have to work hard to take ownership

make you more empathetic as a photographer. There is a huge pressure to of the shoot and direct your subject in a way that makes it clear what the goal is,

perform for the camera, but if you can put your subject at ease and remove giving them clear direction to respond to. It is important to create an environment

some of the questions their inner dialogue is constantly circling through, then where your subject feels free to be vulnerable without any repercussions.

you will free them up to respond in the moment. As the photographer, you will

often spot the parts of your subject’s personality, appearance or inner world T H E S P I R I T O F C O L L A B O R AT I O N

that they seem to be holding back. Often, it is drawing those aspects out that Establishing the ethos of collaboration is essential because it clearly indicates

will produce an image that will even surprise the subject themselves. that you will both be bringing a part of yourselves to the process. Communication

is always key and it is essential to ask questions and truly listen to the response.

INSPIRING CONFIDENCE There is a real arrogance to assume that your vision will be shared by everyone

As the photographer, your confidence can inspire confidence in your subject. without communicating your ideas and listening to your subject.

M any photo g rap h ers wi l l sh o o t wi th o u t d i re ct in g t h e ir s u b j e ct s b u t cle a r

direction and an understanding of what will work on camera, will reassure the It can be a huge advantage to look at the images you have created together

subject that you have a clear vision. Being able to respond to each other, making throughout the shoot. Some photographers are reluctant to show their work.

corrections and adjustments in the moment, rather than constantly viewing each Your subject will always be nervous about the way they are coming across and

shot, keeps the momentum going. It allows for creativity to move forward rather if the shoot is going well. But keeping them in the dark will only breed fear and

than a stop/start experience that can often be unproductive and break the flow. make them more self-conscious. As your subject retreats into their own

BACK TO CONTENTS BBC MAESTRO 90 AN INTRODUCTION TO PHOTOGRAPHY

thoughts, worrying about what might or might not be happening on screen, they SAFETY TIPS

will be less able to respond to your direction. Asking your subject what they do If you are going to meet someone from social media in real life then follow

.
and do not like and welcoming their feedback will build the trust between you. sensible precautions for your own safety:
Some photographers don’t do this. Often it comes from their own insecurities

.
Check out the photographer’s portfolio
and fear of criticism. While this is understandable, you are asking your subject

.
to be vulnerable and if you reciprocate with your own vulnerability, so much Ask for references from previous subjects
more can be achieved.
Take someone with you to the shoot

FINDING YOUR SUBJECTS If finding subjects through social media is not the approach for you, then you can
If you are looking for subjects to photograph, websites and apps like Instagram use the more traditional option of going through agencies, websites and forums
are an ideal source. When you approach people make sure your profile shows where budding photographers can find people who want to be photographed.
an accurate representation of your work and who you are as a photographer.

This is a highly creative industry and many of the people you are most drawn ALL PEOPLE ARE DIFFERENT PEOPLE
to photograph will also be creative and will respond to the opportunity for new One of the most essential qualities a photographer can have is an inquisitive
experiences and to meet new people. Ideally this will evolve into a professional
nature and a fascination with people. If you are interested in human beings, you
relationship where you can learn and grow together.
ask a lot of questions. You must also be aware of the impact you are having on

your subject and adjust your approach accordingly if they seem withdrawn or
If you chose to go down the route of contacting someone through social media,
overwhelmed. Even the most famous and beautiful celebrities can be nervous and
it is important to be honest and avoid any hint of impropriety. Don’t be a creep.
lack confidence. It’s important to take each person as they are and respond in
Your portfolio should speak for you and show that you are contacting someone
the moment. Each subject’s life varies greatly and they come to the shoot with
for the right reasons. For example, you could send examples of your work or
a lifetime of experiences that might colour how they respond in the moment.
even an idea you believe this potential subject would be perfect for. The beginning
Often an insightful portrait can build your subject’s confidence and give them
of a collaborative relationship between the subject and the photographer will

often come down to both of you trusting your instincts. Many people understand a sense of power in who they are. This is a dichotomy of photography; it has

how hard it is to put yourself out there and make yourself vulnerable to rejection. both the power to build confidence up and to rip it down.

If you treat everyone with respect, hopefully that same consideration will be

returned to you.

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 .
UNDER THE MICROSCOPE MY TOP TIPS

The camera is a microscope and it is essential for each photographer to put Collaborating with your subject will help them feel more comfortable

themselves into the subject’s shoes and stand in front of the lens themselves to during the shoot.

truly understand how scrutinised and picked apart the experience can make you

feel. So many factors will come into play during a shoot; from how the subject’s
. Showing your subject the pictures as you go will help them understand

and contribute to the process.

.
day has started to personal challenges they may be facing. It is important to

maintain a professionalism and circle of trust. You should not be gossiping Understand the legal issues and rights issues of taking images. Ensure

about what has happened on set. It is important not to be judgemental, it is you have a release form on hand and make sure everyone understands

much better to remain curious. the implications of what they are signing.

ROLL WITH IT

Collaboration is the lifeblood of the shoot but you must always remain open to the TA K E A W AY S

possibilities of change. Every single person is different and every single set up for

the shoot will be different. You need a reason for taking each photograph and an . A good portrait requires a strong level of trust between the subject

.
and the photographer.
understanding of what you are trying to achieve. It is not always about capturing

a moment; it’s about making moments happen. When it comes to portraiture in

.
Clear, confident direction will help your subject trust in your vision.
particular, you want to make the moment happen. You can prep extensively but
A good portrait photographer will draw out aspects of the subject’s personality,
you must be prepared to roll with whatever happens on the shoot.
appearance or inner world that they normally hold back to create an image

.
that will surprise the subject.
If you create a picture with someone, they are giving something to you and you

should respect that. There is so much emotion in a portrait and if your subject Establishing a collaborative ethos will allow the subject to open up during

.
loves it they will be proud of it. Hopefully that will mean that person will want the shoot.

to work with you again.

Communication is key and feedback should be welcomed in a collaborative

.
spirit.

Websites and apps like Instagram are an ideal source to find subjects

.
to photograph.

.
Take your safety seriously and follow your instincts.

Be inquisitive.

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22. Challenge 5: Portrait

Now it’s your turn. Remember that mood board, that feeling you wanted to create?

This is your chance to do it.

Find someone, maybe someone you know well, and create that image, collaborating

with your subject and drawing something out of them that feels unique to them

and that moment.

This is a hard challenge. So take your time, plan your shoot and then go for it.

Don’t forget to share them with BBC Maestro on social media, tag @BBCMaestro

and @Rankinarchive and remember to use the hashtag #RankinBBCMaestro.

Share your images and creativity to learn and encourage others.

“
I really believe that if you're
going to photograph people,
that you should get in front
of a camera. It reminds you
how uncomfortable it can be
to be in front of the camera.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 93 AN INTRODUCTION TO PHOTOGRAPHY
23. Post-Production

All photographers aim to take the perfect shot. It is so important to get it as C O LO U R T E M P E R AT U R E

close to perfect as you can when taking the shot. But there are tools at your Different light sources emit different temperatures. This impacts the overall

disposal that allow you to correct any issues that you spot after the shoot. colour of your image and especially affects the skin tones. You generally want

the skin tones to look as natural and close to real life as possible or sometimes

T h i s i s w h e r e y o u c ra f t y o u r i m a g e s . A s y o u b e c o m e m o r e p r o fe s s i o n a l , you might want the opposite for a more creative look. Colour temperature is

it’s essential to deliver the highest quality images you can to your clients. That the first step to achieving it. You can easily adjust the colour temperature and

is what gets you a great reputation and return commissions. the colour tint by using the sliders to get a result that feels right to you. If you

need to make more subtle and specific changes to skin tones, then experiment

The re are lo ts o f s o ftware o p ti o n s, i n c l u din g Ca p t u re On e , L i g h t ro o m a n d with the HSL slides (hue, saturation and luminance).

Photoshop. While some of the settings might vary slightly, the principles are
EXPOSURE
universal.
How does your exposure look? Did you get it right on the shoot? Are any of the

details lost? Apart from simply using your eye, you can check the histogram*
IMPORT
at the top of the tools bar to see where the peaks are. The histogram is a graph
Shooting in RAW* rather than JPEG* is best for post-production as RAW can
that shows the tonal distribution of an image. It lets you see, at a glance, where
capture so more information, meaning more detail can be brought out and
the brightest spots and darkest shadows are. This tells you if your image is
manipulated in post-production.
over or under exposed.

Import the images from your camera or memory card into your editing software.
You can adjust the exposure and contrast with the sliders. If you want to go
You should create a folder structure to organise your images. Digital photography
further and have more control, you can play with the Dynamic Range sliders,
allows you to take many frames and a well organised system will make the
highlights, shadows, whites and blacks to affect the light and the dark parts
images easy to access. Review your images and select the ones you want to
individually. This can be great for changing the mood of a photograph. It can
edit further.
be used to really bring out the details of the dark or light parts of your image

without losing any detail in the other areas. Check the histogram to make sure
Use the crop, rotate and straighten tools to sort out your composition. You
you’re not going too far in either direction.
want to get the overall balance of the image right. If you aren’t happy with the

result, you can reset and start again. * P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 94 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

.
S AT U R AT I O N

.
Your vibrance slider is a more subtle tool compared to saturation. It allows you Post-production is an essential part of a photographer’s craft.

to increase the saturation of the more muted colours in the image. This can
Photographers should aim for the perfect shot as post-production tools
enhance the image and make it a more eye-catching shot but without making

.
are there for subtle corrections and changes.
the strongest colours overpowering. For specific colour controls, HSL, hue and

saturation will all work best. Shoot in RAW to give you the most amount of detail to work with. Delivering

.
high-quality images is important for building a reputation with clients.

Your software can do so much more but these are basic steps and functions every

.
Experiment with the tools to see which editing style you prefer.
photographer uses. They give you such a wide range of creative possibilities and
Export images in an appropriate file format and quality for the intended
will help your work stand out from the crowd.
destination.

EXPORT

Once you are satisfied with your final image, your next step is to deliver it. That
EXERCISE
could be to your client, onto social media or having the final image printed. It is

essential to establish what the final delivery requirements are and to ensure that
Being organised is an essential part of your role as a professional photographer.
is what you adhere to if you want to see return business. Attention to detail and a reliable workflow will ensure all your clients see your

best side. For this exercise, create a series of folders for your work on your
Should you choose, you can also add a watermark to the image to protect from computer or hard drive. This is where you will keep all your work, both the images
any unauthorised use. You can also add a copyright notice in the metadata. you are currently working on and your archives. You will have to decide the best

Finally, choose a delivery method that works best for your client. It’s all about structure for the folders and the naming convention you are going to use. This

making a smooth process for you and your client. crucial part of your work will help set you up for success.

BACK TO CONTENTS BBC MAESTRO 95 AN INTRODUCTION TO PHOTOGRAPHY

24. Creative Retouching

Yo u ’ v e g o t y o u r s h o t a n d y o u t h i n k i t ’s a k e e p e r b u t t h e n e x t s t e p m a r k s Of course, maybe you will want to create effects that are deliberately unreal

professionals out from hobbyists. There is still work to be done and the world and that is where you can push your creative retouching skills to the max.

of post-production offers you the opportunity to utilise many more advanced

skills and techniques that will enhance your work. T H E D I G I TA L D A R K R O O M *

Creative post-production is an essential part of the photographic process. As

THE NEXT LEVEL the photographer, you will work hard to capture the perfect image but that is

The term ‘retouching’ often conjures a false idea of what actually goes on in not always possible. On occasion, your focus will be trained on the lighting,

photographic post-production. People outside the industry often use ‘retouching’ the makeup or directing the subject. There will always be a huge variety of

and ‘air-brushing’ interchangeably but that comes from the overuse of technology challenges that arise during a shoot and each one runs the risk of diverting

to alter models and subjects in images beyond recognition. your attention. You might easily miss something that you will later want to

correct. In the world of digital photography, it is often something that can be

Today, creative retouching is much more focused on subtle corrections that remedied in post-production once you have learned what can be achieved with

will enhance the narrative of the image and will respect the integrity of both the the technology.

photograph and the subject.

Before the advent of digital technology, all post-production took place in the

While this does involve making alterations to the image, you should always darkroom. All the effects that can be achieved at the click of a cursor today were

u n d e r s t a n d w h y y o u a r e m a k i n g t h o s e a l t e ra t i o n s . I t i s i m p o r t a n t n o t to done by hand. The results were just as effective but, unlike digital post-production,

fundamentally alter the pixels in the image. For example, if an accidental side those results couldn’t be undone.

effect of the lighting used during the shoot has been to cast a shadow that creates

the illusion of bags under your subject’s eyes, you can take those shadows away RAW

in post-production. This is a much more subtle process than using a pre-set Shooting in RAW will give you the maximum possibilities in post-production.

filter where the dark skin is replaced with another part of the skin on the face. A RAW file is the uncompressed, unprocessed image captured by a digital camera.

The skill of advanced post-production is to create a lighter curve that will subtly The file size is very large and it captures a high level of detail. It is referred

lighten the shadow, reducing the appearance of the dark circle. It has the same to as ‘lossless’ which means it will allow you to compress the file without

effect as moving the light in the studio. compromising on quality. This makes it the ideal format for post-production.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 96 AN INTRODUCTION TO PHOTOGRAPHY

You have worked on your photo in a capture program such as Capture One THE CASE FOR

or Lightroom to enhance the exposure, contrast, colour, and saturation and now Retouching can make subtle changes that improve the image and enhance the

wish to bring into Photoshop for some creative retouching. We recommend narrative behind the photograph. It allows you as the photographer to focus on

bringing in the original RAW file rather than the exported file from Capture One taking the image, freeing you up from the worry that each aspect must be perfect.

or Lightroom with all your changes. This is so you still have all the information This allows creativity to be the driving force rather than technical perfection. It

from the RAW file making it easier and more susceptible to the retouching process. can also be an incredibly positive way of moving the art and skill of photography

Yo u c a n r e a p p l y t h e s a m e c h a n g e s y o u m a d e i n y o u r c a p t u r e p r o g ra m i n on by allowing even relatively inexperienced photographers to experiment with

Photoshop, using the capture program as a guide. techniques like solarisation* which would be much more challenging by hand.

The software allows you to do an endless combination of effects and the only BEST PRACTICE

way to truly discover what works for your own images is through experimentation. The secret to good retouching is to make subtle changes so the viewer of the

photograph won’t notice that anything has been digitally altered at all. But if you

RETOUCHING ON TRIAL do want to create an image that harnesses the creative power of retouching

The digital darkroom is an incredibly valuable tool with endless possibilities then plan it out beforehand. If you are working with a retoucher then have

but that can be overwhelming and can be used in ways that are often counter a conversation in advance to find out what might be possible and to shoot with

to the goals of true portrait photography. It can be a controversial topic. creative post-production in mind. That is often the key to creating a successful,

memorable image. As always, it comes down to communication and planning.

THE CASE AGAINST

Many amateurs and newcomers are tempted to push the retouching process too

far. With the rapid rise of mobile phones and the dominance of social media;

people are often using filters to create unreal images that are not true to life and * P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

perpetuate impossible standards of beauty and physical perfection. The tendency

will always be to overuse these tools but the goal should be to harness them in

the service of storytelling.

BACK TO CONTENTS BBC MAESTRO 97 AN INTRODUCTION TO PHOTOGRAPHY

 ALL IMAGES © RANKIN
R A W I M A G E – Unaltered R E T O U C H E D I M A G E – The hair at the neck has been removed and a vignette

has been added to draw the viewer’s eye to the make-up. Definition has been

added to the eyes by darkening the shadows and sharpening the lips.

BACK TO CONTENTS BBC MAESTRO 98 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. Creative retouching is an essential part of high-end photography

.
and offers unique opportunities to enhance your vision.

Creative retouching should involve subtle corrections

.
and can enhance the narrative of the image.

The digital darkroom allows you to make changes that were previously

.
done by hand.

Shooting in RAW will give you the maximum opportunity to make

.
changes in post-production.

The only way to really learn the software and what its possibilities

.
and limits are, is through practice and experimentation.

Retouching should be used in service of storytelling

“
.
and not to fundamentally alter an image.

If retouching is done right, you won’t be able to notice it.

Photoshop gets a bad name EXERCISE

because of what you see in P U S H I N G P O S T- P R O D U C T I O N

the press. From our point

The possibilities of post-production are endless. It is easily pushed too far and

you can see that all over social media. Take one of your images and see just

of view it’s just a subtle how far you can push an image, how unreal you can make it? It is only when you

discover the limits of what can be done and what detracts from the narrative

change to the original image.

© RANKIN

rather than enhances it, that you will discover what works for you.

BACK TO CONTENTS BBC MAESTRO 99 AN INTRODUCTION TO PHOTOGRAPHY

25. Rankin's Self-Portrait

Do you have your smartphone to hand? Grab it and snap a selfie right now.

Have a good long look at it. Be honest. Does it reveal something, anything,

about you?

The answer is probably ‘nothing’. The selfie is all about concealing the things

that make you unique. It’s about fitting in with the crowd, putting a mask firmly

in place and presenting a version of yourself to the world that is not you.

But the tool of the selfie can be turned to the much more revealing self-portrait.

A self-portrait is the exact opposite of a selfie. It is an opportunity to explore

your creative powers and your inner world; if you are brave enough. You have

to be willing to be vulnerable. But if you are creating portraits of others and

asking them to be vulnerable in front of your lens, you should be willing to do

the same.

Ev e r y b o d y i s i n s e c u r e a b o u t s o m e a s p e c t o f t h e i r p h y s i c a l i t y a n d t a k i n g

a s e l f - p o r t ra i t r e m i n d s y o u to b e e m p a t h e t i c to w a r d s t h e p e r s o n y o u a r e

photographing. It reminds you what it is like to be on the other side of the camera

and should, ultimately, make you a better photographer.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 100 AN INTRODUCTION TO PHOTOGRAPHY
W H AT Y O U W I L L N E E D . Capture the highest quality image you can, which will usually be a RAW file.
This will give you far greater flexibility in post-production.

. .
ESSENTIAL:

.
Your smartphone Mark your spot with tape to allow you to move back and forth easily and

not lose your place.

. .
A cloth to clean the lens

Be aware of your background and any props you use. What is the story you are

.
A light source
telling? Remember, every single aspect of the portrait should be deliberate

.
Inspiration
and in service to the narrative.

Courage
. Trust your gut and your eye when you feel you have the shot. Instinct will

play a huge role in your work and this is where experience comes to the fore.

.
OPTIONAL:
P O S T- P R O D U C T I O N

.
A friend to help
As the photographer, you will always be first to focus on the areas you feel

.
A tripod or phone stand could be improved. No image is ever perfect and you are often your own worst

critic. Post-production is an essential stage of the process and you will be able

.
A remote trigger
to correct many of the issues at this stage. But perfection isn’t the aim here.
Props
The most important thing is that your image is impactful and memorable.

.
GETTING DOWN TO BUSINESS What is incredible about digital photography in general is that you have a mini

Come up with the idea and think it through. As with any other shoot, it is darkroom in your computer. Today, most smartphones have very similar technology

to professional editing software already built in and you can buy apps that will

.
the time that you put into preparation that will ultimately make it a success.
open up the possibilities even further and allow you to take even greater control.
Use the outward facing lenses on your camera as they are much higher
Most smar tphones do have presets or filters. It can feel like presets are the

.
quality. Keep the camera still.
obvious choice for a camera phone image; but with all these tools at your disposal,

.
Use the burst option to take lots of shots without having to go back and forth.
take control and see what can really be done. By avoiding the filters and exploring

Set the timer or use a remote trigger. Some phones allow you to control the different controls available, you will be able to create images that are very
the timer with voice or hand signals. similar to any that a professional would create.

BACK TO CONTENTS BBC MAESTRO 101 AN INTRODUCTION TO PHOTOGRAPHY

THE GOAL

Right now you can take an excellent picture using your smartphone. You have

learned the technical skills. But it is the concept behind the picture and what the

picture looks like in the end that are the most important things. All of the skills

that you are learning are simply in aid of being able to take the best picture you

possibly can.
“It's an opportunity to explore
your creative powers and your
inner world, if you're brave
A N I N T I M AT E E X P E R I E N C E
enough...
As with all photography, it will ultimately be the audience who will interpret the

image for themselves. Photographs are intimate. When people look at them, they
TA K E A W AY S

.
are looking at them on a one-on-one level. It’s not like watching the TV or a film

.
which you do with other people and then discuss. When you look at a photograph, Selfies are not self-portraits.

it’s you and the photograph. It’s really impor tant that the audience has that
A self-portrait reveals your inner world and requires you to be vulnerable
relationship with the photograph and they can reflect or project their own

.
and honest.
interpretation onto the image.
It is important to be your own subject because it reminds you how awkward

.
it is to be in front of the lens.
A LEARNING CURVE

There are many reasons why self-portraiture is such a useful genre; from helping

.
Preparation is essential for a self-portrait shoot.
you hone your skills and allowing you to experiment without the added pressure

.
Clean your lens.
of a subject to opening up new avenues for storytelling and introspection.
Post-production will allow you to fix many of the issues that come up

.
It has always been a popular genre. There have been many notable self-portraits but the goal is not perfection.

by photographers who have used every conceivable method of photography to

Taking self-portraits allows you to experiment and improve your skills
create images that have so much more to them than a quick selfie snapped

.
as well as hone your storytelling.
without thought or planning. Use them as inspiration for your own practice.
Photographs are an intimate experience and each person will interpret

the image in their own way.

BACK TO CONTENTS BBC MAESTRO 102 AN INTRODUCTION TO PHOTOGRAPHY

26. Challenge 6: Self-Portrait

The camera phone in your hand has a huge capacity to alter, perfect and hone

your images.

Your next exercise is to take a self-portrait, the most revealing one you can,

with your smartphone. One that shows the world who you are, the person you

hide from everyone.

Be vulnerable.

“
Using digital, what's incredible
is that it's like having a mini
darkroom in your computer.

Then pick your best shot and use the powers of your smar tphone’s grading

abilities to enhance the image. Don’t forget to play with it and explore the

different effects you can achieve.

Now put that against your all-time best ever selfie from before. Post them on

social media and see what the response is. Don’t forget to tag @BBCMaestro

and use the hashtag #BBCMaestroRankin so fellow photographers can see

them and be inspired.

BACK TO CONTENTS BBC MAESTRO 103 AN INTRODUCTION TO PHOTOGRAPHY

27. The Power of Representation
~ with Ken Kamara

Photography has been democratised through the proliferation of camera phones.

As more and more of us gain easy access to rapidly advancing technology, the

array of people both in front and behind the camera has diversified. But that is

often just an illusion. Creating a truly diverse industry must be a priority if everyone

is to feel included, seen and accurately portrayed. Photographers can be the

driving force that push the change forward, ensuring the art form continues to

evolve.

I F Y O U S E E I T, Y O U C A N B E I T

Whe n Ke n Kamara fi rs t star ted o u t i n p h o to g ra p h y, h e d id n o t s e e h im s e lf

represented in the industry. While studying photography, he would bring the

issue up to his lecturers and ask why no Black photographers featured on the

course. The response was often to tell him to do the research for himself but

that default answer was a side step to avoid the real issue at hand. One way to

bring photographers of colour into the discussion, both as artists and students,

is to diversify the curriculum. By including photographers from different races,

students can explore the unique take each has on the world. Exposing students

to different points of view will allow inspiration to come from a vast variety of

influences.

Ken believes that there is a more open dialogue happening today but that progress

is incremental; often feeling as if it is going backwards rather than forwards. He

has been carving his own career path since he first picked up a camera, striving

to inspire other photographers of colour to forge their own way in the industry.

BACK TO CONTENTS BBC MAESTRO 104 AN INTRODUCTION TO PHOTOGRAPHY

AMPLIFYING UNHEARD VOICES LIGHTING FOR DIFFERENT SKIN TONES

As a photographer, you can choose where to focus your lens, deciding which Lighting is an essential tool for all photographers. It is easy to get it wrong and

stories you want to tell and how you want to tell them. You have the power to tell you can light badly for any colour of skin. As Ken says, not all keys fit the same

new narratives about the world, as seen through your lens. It is an opportunity keyhole and not all lighting will work for all skin tones. It is important to light for

to use your skills to amplify the unheard voices and highlight underrepresented the subject in front of you and focus on creating an image that is accurate and

communities and issues. Ken sees himself as a conduit through which his fair. The work you put into studying your subject and lighting accordingly will pay

subjects can tell their own stories. It is important to do your own research into off in a final image that will be full of life and a true representation of the person

any subject you are covering and to make conscious decisions about the way in in front of your lens. Realising that every single person should be treated as an

which you are representing a person, a group or a subject. individual, worthy of being portrayed fairly is the first requirement of the job.

Does your subject’s skin look the same in the photograph as it does in real life?

I T I S FA I R A N D I S I T A C C U R A T E ? If it’s a good portrait, then it will.

You have a responsibility to both yourself and to your subject to represent

them fairly and accurately when you take a photograph. It is essential that you FEEDBACK

understand the narrative you are presenting and each creative choice is made It is important your subject feels comfortable with the images. Often there can

mindfully. You must be aware of the context in which the image was taken, be many people heaping praise on the subject and the image. This can make

where it will be viewed and the impact it could have. it a very difficult environment to speak out in if the subject is unhappy about

the way they have been captured on camera. It is essential to open up the

INHERENT BIAS conversation and encourage people to speak up when they are uncomfortable

As a human being, a multitude of biases have been baked into us from birth. with the image, to really listen and take their opinion and lived experiences into

But we can become aware of those biases and challenge them through each account.

step of the creative process. That is where change really starts to happen.

Each choice, from deciding to take the photograph in the first place to the final

editing process, is an opportunity to be aware of your preconceptions, the ways

in which you are responding to the subject and how that is impacting on your

creative practice. Each photographer must be conscious of the way their own

perspectives influence their work.

BACK TO CONTENTS BBC MAESTRO 105 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. There needs to be much greater diversity both behind and in front of the lens

if photography is going to continue to evolve.

. Being exposed to different perspectives on the world widens your horizons

as a photographer.

. Photographers can use their camera to amplify unheard and underrepresented

voices.

“
Photographers can be a conduit to allow others to tell their own stories.

. Photographers have a responsibility to capture their subject both fairly

and accurately.

My discussion is about . All humans have biases but realising that and constantly challenging them

is the basis for creating change.

the unheard voices, of which . You can light badly for any skin tone.

I am one of many. If I have . One size does not fit all when it comes to lighting. Light for the person

in front of your camera and adjust until their skin tone looks true to life

the ability to amplify someone's in your portrait.

voice, then I will try to do it . Create an environment where your subject feels comfortable giving feedback.

with my skillset.
© KEN KAMARA

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28. Challenge 7:
Who Do You See?

It’s clear how important it is for each of us to see ourselves represented in

the world around us, honestly, truthfully and in all our glory and complexity.

So many people feel invisible, erased by our society and for so many reasons,

through race, age, disability, sexuality, gender. Can you use your camera to help

someone feel seen?

“
When you take a photograph,
your responsibility is to
yourself, the person you're
photographing and your
audience.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 107 AN INTRODUCTION TO PHOTOGRAPHY
29. Getting Out Of Your
Comfort Zone

Giles Duley began his photographic career in fashion and music photography.

While he enjoyed the work, he was drawn to a different path that would push

him out of his comfort zone. He has now been working in conflict zones around

the world for over 20 years. As a triple amputee, there are a lot of challenges

that he faces but he has continued to push himself out of his comfort zone to

test and expand his skills as a photographer; telling the stories of some of the

world’s most marginalised and traumatised people.

A F G H A N I S TA N

W h i l e G i l e s w a s e m b e d d e d w i t h t h e U S A r m y ’s 1 0 1 s t A i r b o r n e D i v i s i o n i n

Afghanistan, he stood on an unidentified explosive device. His injuries were life

changing. When he first regained consciousness in the hospital, he was unable

to communicate. For 46 days, Giles was only able to communicate through

blinking. He coped by focusing on his greatest passion; his photography. As

his body battled to survive, his mind planned portrait photoshoots with all the

people he one day hoped to photograph. The prognosis was bad and his family

was called to his bedside on several occasions to say their goodbyes.

When the doctors told Giles that he would never walk again and would be

dependent on others for the rest of his life, he felt like his life was over. But

he always knew that being a photographer was at the very core of his identity

and his desire to be back behind his lens was the driving force in his long road

to recovery. Giles had 37 operations and spent over a year in hospital. During

that time, he focused on how to adapt photography to his new circumstances.

BACK TO CONTENTS BBC MAESTRO 108 AN INTRODUCTION TO PHOTOGRAPHY

 .
L I F E F I N D S A W AY ADVICE

Giles’ first mission on getting out of hospital was to take photographs once G o to p l a c e s t h a t a r e n o t i n t h e n e w s . W i t h i n a w e e k o f t h e i n v a s i o n

again. He had devised his new method for taking photographs in his head and o f Uk ra i ne, t here were a ro und 200 0 pho to gra pher s regi st ered i n t he

he was eager to see if it would work. He knew what his limitations would now co u n t r y. Yo u need to go to t he pl a c es where no bo dy el se i s repo r t i ng

from and that is where you will find the stories nobody else is covering.
be and found a way to incorporate them into his new practice. Giles knew he

could no longer move quickly and that would make changing angles almost

impossible.
. You don’t need to go straight to the front line of a conflict. Many emerging

photographers believe that is the only way to get the image that will make

their name. The risks are high and you should focus on learning how to
On a technical level, Giles now shoots at eye level. He researches the location
work in those environments first and build up from there.

.
and plans where he should position himself to capture the best shot. This may

take several days of research but it is time well spent. He used a fixed focus and Your photographs don’t need to be reverential and serious. Tell the truth
works with film; often with a medium format camera on a tripod. He believes that of the situation as you find it and show the lives of the people as you see it.

.
the adaptations he made have ultimately enhanced his creativity in other areas.

Telling the stories of the people you meet through the photographs you

take of them can move the audience and create lasting change.
A TRUE CONNECTION

Giles realised his real power came from his connection with people and his

experience and injuries would allow the people he photographed, who had often
. As humans, we can all relate to our fellow humans and telling the human

story of conflict can have a huge impact by getting your work in front of
themselves faced great physical and mental trauma through conflict, to connect
the right audience.
to him on a new, much deeper level. They shared something in common and

that bond would be the basis of incredibly moving and piercing portraits and

documentary work.
. If you are shooting in an area of conflict, be aware of the narrative you are

telling about the people you are photographing as this will create a potentially

lasting impact on the way a country is seen after the conflict ends.

.
Before his injuries, Giles had always felt guilty when he photographed survivors

of global conflicts. While he knew he was there for the right reasons before, Returning to photograph the same people over the years can be the basis

being a triple amputee now means that the person on the other side of his lens of a much more powerful form of storytelling.

often feels Giles shares their experience. He can joke with survivors in a way

that someone without such outwardly visible injuries cannot.

BACK TO CONTENTS BBC MAESTRO 109 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. If you want to grow personally and creatively, push yourself out of your

comfort zone.

. Do not get tied into a singular vision of a situation. Newspapers and media

outlets often propagate the same narrative about a country in conflict.

. Being forced to adapt to changing circumstances can ignite your creativity

in surprising ways.
As a photographer you have an opportunity to present the situation from

different angles.
. It is important to connect properly with people if you want to create

something meaningful together.

. In today’s world, photographers often rush to submit images to a news desk.

In the past, photographers like Don McCullin had the luxury of developing
. Go to the places that are not in the current headlines if you want to find

the untold stories.

their images and making thought through decisions on which images to use

in a photo essay. The opportunity to step back will often strengthen your
. Building relationships with your subjects over time can lead to impactful

storytelling.

.
work and should be grasped if you have the option. These images and photo

stories are often the ones that have the greatest resonance. You should aim to present a nuanced and diverse perspective on the stories

.
you are covering.
You are not photographing injuries; you are photographing humans with
. Basic first aid training might one day help you save a life.

.
compelling stories. Look for the most interesting characters and don’t be

fobbed off with the first round of people suggested. Meet people and decide Trusting your instincts is essential both for your personal safety and for
for yourself. your creativity.

. Your camera is a passport into people’s lives and to hear their stories.

Grab those opportunities and put them to good use.

. Do first aid training. You never know when you might be the person to save

someone’s life.

. Trust your instincts. If it doesn’t feel right; get out.

BACK TO CONTENTS BBC MAESTRO 110 AN INTRODUCTION TO PHOTOGRAPHY

30. Challenge 8:
Be Brave, Be Bold

Sometimes we can all hide behind our camera but take inspiration from Giles

and find a way to push yourself out of your comfort zone. Use your camera to

tell someone’s story, to challenge a preconception or to raise awareness of an

issue that touches you.

Use your voice, your skills, your talent and your passion and see where a trip

out of your comfort zone can take you.

“
As an industry, we have
to try and not reward risk.
As a young photographer,
you don't immediately have
to go to the front line.

© RANKIN
BACK TO CONTENTS BBC MAESTRO 111 AN INTRODUCTION TO PHOTOGRAPHY
31. Extra Tips

“
You have learned the basics and you should be able to see the progress in your

work. But when it comes to photography, there is always something new to

learn. It is a lifelong passion and education.

Nothing beats the feel
In this lesson you will discover more advanced skills for you to delve into. There

are many books and websites out there that will go into these in even greater
of the camera in your hand
detail. A great place to start is Langford’s Basic Photography: The Guide for

Serious Photographers .
searching for the shot.
PERSPECTIVE

Change your point of view and perspective by altering the distance between you

and the subject and using different angles. You want to disrupt that automatic

urge to grab the easy shot.

Different perspectives can create specific moods and emotions. If you want to

make your subject appear more powerful or dominant, shoot them from a lower

angle. The converse is also true; a higher angle will make your subject appear

smaller and more vulnerable. You can create a sense of intimacy by shooting

closer to your subject and again, the opposite will be true if you shoot from

a distance. That sense of detachment or isolation can be used to create a powerful

portrait.

© RANKIN
PERSPECTIVE: HIGH ANGLE

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 © RANKIN
© RANKIN

PERSPECTIVE: LOW ANGLE PERSPECTIVE: STRAIGHT ON

BACK TO CONTENTS BBC MAESTRO 113 AN INTRODUCTION TO PHOTOGRAPHY

COMPOSITION

“
Consider where you place your subject in the frame. Where they’re placed and

how much or little space they take up, can convey very different feelings and

emotions.

Think about where your subject is looking, compared with where they are I believe you make a photograph
placed in the frame and how much of your subject you can see.
rather than take it.
A popular compositional technique involves the ‘Rule of Thirds’* where the

frame is divided into equal parts by two horizontal lines and two vertical lines.

The rule goes, placing the focus of your subject at any of the four points where

the lines intersect, will create the most visually pleasing photo for the viewer.

However, if you want to create added interest or a sense of tension or unease

in your photo then try breaking this rule and place the focus of your subject

into one of the 9 squares.

P a y a t t e n t i o n to y o u r b a c k g r o u n d a n d f o r e g r o u n d . Yo u r b a c k g r o u n d c a n

compliment or contrast with your subject while the foreground can be used

to add depth and context to the story you are trying to tell. All these things

combined can enhance or even change the narrative of your photo. A good

rule of thumb; if there are any elements distracting from the subject then they

shouldn’t be there.

© RANKIN
* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 114 AN INTRODUCTION TO PHOTOGRAPHY

A S P E C T R AT I O *

When it comes to structuring your photograph, you have to take into account

your proportions, are you going vertical or horizontal or are you going square?

Aspect ratio refers to the relationship between the height and width of the image.

It has a huge impact on the composition of the image and can also evoke different

moods and emotions.

Vertical can create a sense of grandeur and square creates a sense of symmetry

and balance while the wider horizontal aspect ratio often creates a sense of

spaciousness and freedom. You can crop in post-production to redefine the

image in a more dynamic way.

* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

© RANKIN

© RANKIN
A S P E C T R AT I O : L A N D S C A P E A S P E C T R AT I O : P O RT R A I T

BACK TO CONTENTS BBC MAESTRO 115 AN INTRODUCTION TO PHOTOGRAPHY

COLOUR

Use colour and tone to emphasise the mood you are after. Think about your

palate. Colours close to each other on the spectrum bleed together while the

ones at opposite ends contrast. Any area with contrasting colours will draw the

eye. Use it to your advantage if that is what you want, or use your lighting skills to

cast a shadow to obscure it. You can always work with colour in post-production

too.

When it comes to colour in portrait photography, it will be important to consider

the skin ton e o f yo u r s u b jec t. I t i s i mp o r ta n t to w o r k w it h t h e co l o u r s t h a t

complement and enhance your subject’s natural skin tone.

© RANKIN

© RANKIN
COLOUR: CONTRAST COLOUR: BLEEDING

BACK TO CONTENTS BBC MAESTRO 116 AN INTRODUCTION TO PHOTOGRAPHY

LEADING LINES*

You need to make sure you have consciously thought of the balance in the image

and you should look for strong lines that help draw the viewer’s attention to

the focus.

You are looking for lines occurring in the environment which could be anything

including road markings, fencing, buildings, walls and mountains to even lines

created by light and shadow. If used right, leading lines will unconsciously lead

the viewer to your subject no matter where they are in the frame and what is

going on around them. Make sure the purpose of your image is never lost.

“
I studied photography
at college, but all my greatest
lessons came from just getting
out there and doing it.

© RANKIN
* P L E A S E R E F E R T O T H E G L O S S A R Y S E C T I O N @ PA G E 1 3 0

BACK TO CONTENTS BBC MAESTRO 117 AN INTRODUCTION TO PHOTOGRAPHY

FRAMING

Everything inside your shot should be deliberate and should support the theme

you are goin g fo r. Yo u c an u se n atu ral fra m in g t e ch n i q u e s li ke d o o r w ay s ,

windows or trees to create a frame within a frame, a popular technique used by

photographers to focus the viewer’s attention on the subject.

Also keep in mind where you want your final image to be seen. The larger the

print, the more scope inside the frame. Conversely, if a social media platform

like Instagram is your gallery space, then a simpler image might work best.

Many of these techniques will already be a part of your practice but learning

the theory behind them is the next step in your journey and will give you the

confidence and the tools to challenge yourself and your skills.

“
The goal is to be creative and
learn how to take photographs.

© RANKIN
FRAMING: CLOSE

BACK TO CONTENTS BBC MAESTRO 118 AN INTRODUCTION TO PHOTOGRAPHY

 © RANKIN
© RANKIN

FRAMING: MEDIUM FRAMING: WIDE

BACK TO CONTENTS BBC MAESTRO 119 AN INTRODUCTION TO PHOTOGRAPHY

 TA K E A W AY S

. By changing perspectives, you can make the same subject appear powerful

.
or vulnerable.

The placement of your subject in the frame can enhance or alter the narrative

.
of the image.

Consider your aspect ratio well as each can be used to reveal, hide and tell

.
different narratives.

.
Colour can be used to create different moods.

.
Contrasting colours can help draw the viewer’s eye.

.
Each subject is unique. Work with colours that complement their skin tone.

.
Leading lines are a powerful tool to help you guide the viewer’s eye.

Everything in the frame should be deliberate and should help tell the story.

If it distracts, get rid of it.

EXERCISE

NEXT STEPS IN VISUAL STORYTELLING

Which of these more advanced techniques feels furthest from your comfort

zone? You learn the most when you push yourself out of that zone so for your

next exercise, take each technique one by one and create a series of photographs

that tell the story of your subject.

Each image should focus on one of the techniques. Using the same subject,
© RANKIN

can you harness these techniques to tell different narratives in each portrait?

Share them with your fellow BBC Maestro students.

BACK TO CONTENTS BBC MAESTRO 120 AN INTRODUCTION TO PHOTOGRAPHY

32. How To Build Your Portfolio

The next step for any budding photographer can be a scary one. After learning Include work that is truly reflective of who you are and what you love to shoot.

all these skills, you have to be brave and put your work out there to be seen. It Even if this section is only a small fraction of the overall portfolio. This will be

has never been easier for a budding photographer to get their work seen. In the your North Star, guiding your choices and reminding you of why you wanted to

past, you would have created a physical portfolio of your work that you would be a professional photographer in the first place.

have carried with you. It was cumbersome and time consuming.

TA K E T H E I N I T I AT I V E

Today, many photographers have moved away from this practice and solely Don’t wait for brands and commissioners to come to you. You will not get

display and promote their work through social media platforms like Instagram. commissions for a style or genre that is not already represented in your work.

This has opened up access to potential clients for so many young photographers I f y o u w a n t to b e a p o t e n t i a l c a n d i d a t e f o r a p a r t i c u l a r s t y l e o r g e n r e o f

who would previously have had to use precious resources to pay for a costly photography then the onus is on you to reassure the commissioner that you

portfolio. But with this accessibility and ease comes the risk of market saturation. are capable. You do this through taking the initiative and creating your own

Apps and websites like Instagram have levelled the playing field for so many examples in this area. This can mean working for free but a little investment

budding photographers but it also means you will need to work harder than ever now will pay off in the future when you find yourself working in the genre and

before to find your place within this new digital world and ensure your work style you are most drawn to.

breaks through the noise.

Your portfolio is a blank canvas. Think about the subjects and styles you really

W H AT D O I I N C L U D E ? love and go create work that excites you, because that is what will excite the

When it comes to your portfolio, be it physical or digital, the most important audience and, ultimately, the commissioners. Your passion is photography

step is to choose the areas you are most passionate about working within and and bringing your portfolio together should be an enjoyable process. It should

make sure those are clearly represented and defined. spark excitement and an eagerness to get to work. This is your opportunity

to showcase what you can do to the world and to find the genres and styles

You will need to ensure your portfolio has depth and range to showcase your that get your creative juices flowing. While the goal may be to start bringing

flexibility as a photographer. in commissions and booking jobs; it is important that you enjoy the day-to-day

process of preparation, collaboration, shooting, post-production and even

Your portfolio should be full of the type of images you love to create. There is no n e t w o r k i n g. T ha t mea ns t ha t whi l e bui l di ng yo ur po r t f o l i o i s a huge t a sk,

point having lingerie shots in there if that is not where you want your career to go. it should also be an enjoyable one.

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F I N D Y O U R PA S S I O N S TA RT T H E C O N V E R S AT I O N

Are you a part of any groups or subcultures that grip your imagination? Would As you build your portfolio and your creative network, it is important to start

they make for an interesting series of images? These are the questions you talking about the kind of jobs you want to be working on. Be very clear about

should be asking yourself. If you have unique access to a world that the outside your ambitions, your passions and your skills. People will remember you and
your work and as those jobs start to come up, you will be on their mind. If you
world might not be familiar with, what would those images be like? Would you
have taken that first step to create work in the areas you want to move into then
be able to capture a slice of life that the rest of us haven’t seen? Which scenes or
you will be a natural choice for the commissioners as they will be confident you
subcultures could you immerse yourself in that will ignite that flame of creativity?
can be relied on to deliver.

You need to be following your passions and finding out what makes you tick
It all comes down to doing what you love and what brings your imagination to
as a photographer if you want to create work that will draw an audience in and
life. Follow those pathways and you will find your voice and create images that
get you noticed. Your unique perspective on a hidden world will always hold
you will be proud to show to the word; be it online or in a physical portfolio.
fascination and this is a huge opportunity to develop your visual storytelling.

When you approach a group you want to photograph, your passion and authenticity
TA K E A W AY S

.
will come through. People respond to authenticity and enthusiasm and will often

be only too happy to collaborate with you. If you let your integrity lead then
It has never been easier to get your work in front of an audience
people will often introduce you to their own contacts and the possibilities for

.
and commissioners.
collaboration and creative projects will expand. That is the power of authenticity,

integrity and passion. It draws people to you and leads to more opportunities. When creating your portfolio, choose the areas you are most passionate

.
about working within and make sure they are represented.

THE CONDUIT

.
Your portfolio should represent who you are as a photographer.
Your voice as a photographer is a combination of your passion, your inspiration
If you want to move into a specific genre, make sure you include examples
and what you love to shoot. Photography can be a way to process your

.
of that genre in your portfolio.
experiences and bring your perspective to the world. Often you are using your

camera to tell other people’s stories as well as your own. Your voice can be Authenticity and enthusiasm will open doors for you and will build trust

.
malleable depending on the story you are telling. with potential subjects.

Be clear about your ambition and follow your passion. That is the way to create

authentic work that will break through the proliferation of images online

and land you the jobs you really want.

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 EXERCISE

PORTFOLIO
You should already have a collection of images that you are proud of. Ones
that illustrate the journey you have been on with BBC Maestro. Now is the time
to bring those images together in a portfolio you will send out into the world
to introduce yourself.

Yo u r f i r s t s t e p i s to b e t r u l y h o n e s t w i t h y o u r s e l f . W h a t d o y o u w a n t to
photograph? Do you have examples already that you can show prospective
clients? If not, then you are going to have to go out there and create those

“
images. It’s the lifeblood of what all photographers do.

If you really love photography,

then go out there, and make
your book. The process should
be as enjoyable as the end point.

Once you have those images then you must start to tell the story of who you
are through your work. You are a storyteller. You can create a physical book and
you can create your own website but many photographers today are utilising the
power of Instagram to curate their work and showcase their portfolio. Curate
© RANKIN

your own book, website or social media account dedicated to your work and tag

your fellow BBC Maestro course mates to support each other and get the word out.

BACK TO CONTENTS BBC MAESTRO 123 AN INTRODUCTION TO PHOTOGRAPHY

33. How To Get The Job

You’ve honed your skills. You’ve taken images that you are proud of. You have AN ESSENTIAL SKILL
crafted stories using all the techniques you have learned throughout this You should be putting as much effort into researching and connecting with new
course. After putting in all that hard work to create a unique portfolio of work, people as you do with learning the essential skills of photography.
you will want to get it seen.

If you put the work in, you will begin to see results. Hopefully each new job leads
That means your next step is to put these skills to work for you. To make that happen,
on to another and you will see your work and your experience grow. Once the
you are going to need clients with the power to commission work from you.
work starts coming in, it’s important not to rest on your laurels. The temptation

YOUR NETWORK IS YOUR NET WORTH to fe e l t h a t i t i s a l l i nev i t a bl e wi l l be st ro ng but even t he mo st suc c essf ul

You do not need to know the industry to become a successful photographer. photographers at the top of their game are still out there making new connections
But the onus is on you to make it happen and that takes hard work and focus. and searching for the next job. It is good to stay hungry for the next challenge.
If you are serious about making a living with your photography then you will If you are passionate about photography then that will be the lifeblood of your
have to make your own opportunities throughout your career. work. You should always be seeking to challenge yourself and push your work

into new places, creatively.

As you start out, you will be building a network of friends and contacts. This is
your network and will be the gateway to opportunities. Your network will expand
With each new commission, a seed is planted that might grow, leading to the
as you build your reputation from long term friends and existing clients. With
next job. In this way you are creating relationships that might end up being
each connection and each commission will come the opportunity to expand your
network through building relationships. fruitful both creatively and financially.

EXCEL TO EXCEL
Oppor tunity can come in many guises and you need to be poised to grab it.
Ken Kamara advises that your best friend is an Excel spreadsheet. It is an
In 2016, Ken snapped a photograph of Ross Lockwood, a London paramedic on
essential tool for networking and it is the most efficient way to keep a record of
duty at the Notting Hill Carnival. Ken had been drawn to Ross and thought he
all the people you come into contact with. It is crucial to keep updating the list
would make an excellent subject for a portrait. The pair became friends and Ross
and its details. You must break it all down, from where you met, what was said,
eventually spoke to his boss at the ambulance service to suggest Ken photograph
the position they are in. It will help you nur ture each relationship. It will also
the London Air Ambulance Service. Ken created a unique, compelling portrait
encourage you to keep knocking on doors and to grab opportunities when they
are presented to you. You should be asking for recommendations and always of the brave men and women saving lives across London every day and it all

follow them up. Initiative is key. It does take courage and commitment to follow stemmed from his passion for photography and his ability to make friends

each lead up and that bravery will be rewarded. and nur ture relationships.

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 LONDON AIR AMBULANCE © KEN KAMARA
BACK TO CONTENTS BBC MAESTRO 125 AN INTRODUCTION TO PHOTOGRAPHY
 TA K E A W AY S

. Create your own opportunities, don’t wait for them to come to you.

. Building and maintaining a network of friends and contacts is essential

if you want to create new opportunities.

. An Excel spreadsheet is a useful tool to help you keep track of your

network but you will have to make sure you update it regularly.

. Don’t rest on your laurels. You must keep pushing yourself

to find the next challenge.

. Every new commission is an opportunity to create a fruitful relationship

that might lead to future jobs.

EXERCISE

BUILDING YOUR COMMUNITY

Networking: some people love it and some people hate it. Either way it’s your
most reliable route to creating oppor tunities for yourself. It’s about creating
a community of like-minded people to support you as you grow in your career.
If you are a natural at it, congratulations. But if not, don’t worry, you can teach
yourself.

Your first step is to copy Ken and create a document where you will keep all
your contacts. Put your wish list of creative collaborators from earlier in the
© KEN KAMARA

course into the list. This is where it is about to get serious. Now let’s get the
next set of new entries onto the page. Make a list of at least three more people
you want to connect with. Search for the best way to contact them and add
that into the second column. Now contact them. Update your document. Easy

as pie, right?

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34. Q & A With Rankin

Social media has changed the way we communicate. The world has opened WHERE DO THE CONCEPTS COME FROM?

up and we now have access to each other in ways that didn’t exist just over It’s six of one and half a dozen of the other. Sometimes I am asked to come up
a decade ago. This has made it far easier to learn new skills and approach the with creative concepts for clients and sometimes they come up with them.
people you admire for advice. W h a t eve r h a ppens, ma ki ng t ho se c o nc ept s c o me to l i fe i s a c o l l a bo ra t i ve

experience. You have to work together to do it.

I get asked for my advice every day on Instagram, Twitter, Facebook and even

my good old email. The same questions come up time and again. So I thought
WHO IS ON YOUR BUCKET LIST?
it would be a great idea to answer them here.
My bucket list changes all the time. I’d obviously love to photograph Obama but

quite frankly, it’s who I’ve seen on TV the night before.

W H AT I S Y O U R A D V I C E F O R N E W P H OT O G R A P H E R S ?
HOW DO YOU KNOW YOU’VE GOT THE SHOT?
If you want to be a photographer, you’ve got to take pictures. Practise, practise,
Knowing when you’ve got the shot is such a weird thing because, for me, it’s
practise. It doesn’t matter whether it’s with your phone or it’s with your camera,
very instinctive. However, that’s something that I’ve learned over time. You’ve
you’ve got to learn how to take pictures.
got to try and trust yourself. But at the same time, give yourself that safety net

W H O ’ S Y O U R S T Y L E I N S P I R AT I O N ? and go that extra mile.

I’m inspired by people. I love the human interaction that a photographer has

with their subject and that’s where I get my inspiration. I’m also inspired by COMPOSITION OR LIGHT?
galleries, exhibitions, and books. I try to surround myself with creativity all
Neither is more important. It is all about bringing them together and making
the time but I don’t just look at photographs. I don’t just look at social media.
them work for you. Whether it’s composition, light or the subject being happy;
I look everywhere.
it’s about creating the environment to take the picture that you want to take.

ADVICE TO YOUR YOUNGER SELF?

Be nicer. Be nicer to myself and be kinder to other people. I thought you had to D I G I TA L O R F I L M ?

be a dictator when I first started and actually what I’ve learned is it’s all about Digital or film? It’s a big question but I think both of them are great for different

collaboration. Bringing a team together behind a single vision is what your job reasons. You have to decide which you prefer to use in your practice. But if you

is as the photographer. want to really learn photography, you’ve got to do both.

BACK TO CONTENTS BBC MAESTRO 127 AN INTRODUCTION TO PHOTOGRAPHY

HOW DO YOU GET A COMMISSION? PROUDEST MOMENT?
There are so many ways to get a commission. It’s all about persistence and There are so many photographs I am proud of but the one that is most important
knocking on doors and planting seeds. You’re never going to get a commission to me is the next one.
to shoot something unless there is work along the same lines already in your

portfolio. Create a portfolio full of the kind of work you want to create. That will
WORDS OF WISDOM?
show potential clients what you are passionate about and show that you can
Ke n L o a ch, t he br i l l i a nt f i l mma ker, o nc e to l d me t ha t i t wa s my jo b a s t he
deliver what they are looking for. Planting seeds is very important so knocking
photographer, or director, to be nice.
on doors, reminding people who you are, asking for their advice are all great

ways to get yourself and your work seen. But you will only be asked to do things

that they’ve already seen you do before.

W H AT WA S Y O U R B I G G E S T B R E A K ?
TA K E A W AY S

.
Probably the biggest break of my career was photographing the Queen. Once

you’ve photographed the Queen, that’s it. Nobody can really say ‘who has he
Get out and about to find your inspiration.
photographed?’ because you photographed the Queen.
. The creative process is all about collaboration. It makes your work stronger.

CAMERA PHONE OR DSLR?

. Even if you think you’ve got the shot, get backups to give yourself a safety net.
It all depends on the moment. If you are out and about and you haven’t got your
. Create a portfolio that truly represents the work you want to be making.

.
DSLR, use your camera phone. Or use your camera phone to practise because it

is so easy to use. But of course, when you are taking a photograph that is really
You won’t get a commission without proof you can already deliver.
important to you, you should probably use your DSLR.
. If you really want to learn photography, work with both film and digital.

DO YOU SET YOURSELF CHALLENGES OR RESTRICTIONS?

Restrictions create innovation and I also challenge myself all the time. You have

to create challenges for your photography to develop and if you want to do

projects, a challenge is a brilliant way to make things happen.

BACK TO CONTENTS BBC MAESTRO 128 AN INTRODUCTION TO PHOTOGRAPHY

35. Outro

Well done! You now have all the tools you need to make great portraits. But

by far the most important of all is yourself. Your mind, your ideas, your unique

take on the world. That is what we want to see. A photographer is at their

happiest with a camera in hand. It is your pen, your paintbrush, your voice.

It allows you to communicate with the world. That is a rare opportunity and

one you should grasp with both hands. It is the biggest challenge of all. Find

out what you are passionate about; what you want to say to the world. Take

portraits that reveal something in each of your subjects that no one has ever

seen before. Then share your work with the world. Don’t forget to tag us here

at BBC Maestro.

And one last thing…

PRACTISE.

“
The work always came first.
It was, and still is addictive.

BACK TO CONTENTS BBC MAESTRO 129 AN INTRODUCTION TO PHOTOGRAPHY

Glossary

35mm CAMERA BOKEH

A analogue camera that uses 35mm film to capture photographs. It has The aesthetic quality of the out of focus areas in a photograph, created through

interchangeable lenses and manual controls. a shallow depth of field .

ANALOGUE CAMERA BOUNCE

A camera that captures images on photographic film rather than a digital light The technique of reflecting the light from one direction to another.

sensor .
BURST

A continuous shooting mode where the camera takes several frames in rapid
ANGLE OF VIEW
succession.
The extent of the scene that a lens can capture, measured in degrees or millimetres.

C AT C H L I G H T
APERTURE
The reflection of a light source in the eyes of the subject.
The opening in a lens through which light passes. It affects the depth of field

and amount of light reaching the camera .

COLOUR GRADING

The process of adjusting the colour and tone of an image to achieve a desired
A S P E C T R AT I O
look or mood.
The ratio of width to height of a photo which affects the framing and composition

of a portrait.
C O LO U R T E M P E R AT U R E
A measure of the warmth or coolness of a light source expressed in degrees
A U T O M AT I C
Kelvin. It can be modified through the white balance settings.
When in automatic mode, the camera automatically selects and adjusts the

exposure settings such as aperture, shutter speed and ISO to achieve the best COMPOSITION
exposure for the image. The arrangement of the visual elements of the image within the frame of the
photograph.

BACKLIGHTING

The main light source is positioned behind the subject creating a silhouette CONTRAST

or halo effect . The difference between the lightest and darkest areas in an image.

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DARKROOM F L AT
A light free room where traditional photographic film or prints are developed An image with low contrast and saturations .
and processed using chemical techniques.

F O C A L D I S TA N C E
DEPTH OF FIELD
The distance between the lens and the subject.
The distance between the closest and the farthest objects in a photograph that
appear acceptably in focus . Controlled through the aperture settings.
FOCAL LENGTH

The distance between the optical centre of the lens and the camera's sensor ,
DIFFUSER
which is measured in milimetres indicated on the lens.
A modifier used to soften the light.

D I G I TA L S I N G L E - L E N S R E F L E X ( D S L R ) C A M E R A FOCAL PLANE
A DSLR cam era refl ec ts l i g h t th at en ters t h ro u g h t h e lens u s in g a m i r ro r The point where perfect focus is in your frame. This point runs parallel to your
allowing the photographer to view the image in a viewfinder. camera and spans the complete horizontal and vertical distance of your frame.

EXPOSURE FOCUS
The amount of light that reaches the camera's sensor or film.
The sharpness and clarity of the subject in an image.

FA S T E R
F-STOP
A faster shutter speed , meaning the camera’s shutter is open for a shor ter
Se q u e n ce o f number s depi c t i ng t he sto ps o f l i ght yo ur aper ture i s l et t i ng
amount of time which will allow the camera to capture a moving subject
through. Stops is a unit measurement of light.
without any motion blur.

GOLDEN HOUR
FA S T L E N S
Lenses that possess a wide aperture. The period of time just after sunrise and just before sunset when the sun is low

in the sky and the light is warm and golden.

FILL LIGHT
Additional lighting used that is not the main source of light, known as the HARD LIGHT
key light. A strong light.

FLASH HIGHLIGHTS
A device that produces a burst of light to illuminate a subject. The brightest areas of an image.

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HISTOGRAM METERING
Bar chart graphically representing a digital image’s distribution of light. The process of measuring the light in a scene and adjusting the camera settings
accordingly.

ISO
The sensitivity of the camera sensor to light. MIRRORLESS
The camera uses an electronic viewfinder and LCD screen to display what the
camera sees.
JPEG
The most common file format for images and photographs.
N AT U R A L L I G H T
Any light source not produced by artificial light such as the sun, moon and stars.
KEY LIGHT
Can alter dramatically depending on time of day and weather conditions.
The primary light source.

NOISE
LEADING LINES The distortion or graininess that occurs in a digital image when shooting in low
Natural or man-made lines that lead the viewer's eye towards the main focal light or with high ISO settings.
point of the image.
OVEREXPOSURE
LENS When too much light is captured by the camera it results in overly bright, white

An object made of glass that funnels the light onto the camera's sensor or film. parts of an image where the detail might not be able to be retrieved.

POINT AND SHOOT CAMERA

MACRO LENS
A camera without much access to manual controls.
Lenses that are capable of shorter focal distances and higher magnification
than typical lenses.
PORTRAIT MODE
A camera phone setting that attempts to create the look of a shallow depth
MANUAL
of field .
Manual means the photographer has full control over all settings, the camera
will not change anything on a manual camera or in manual mode. P O S T- P R O D U C T I O N
The process of editing and enhancing images after they have been captured;
M E D I U M F O R M AT C A M E R A often through specialist software.
An analogue medium format camera uses 120mm film as where a digital medium

format camera has a larger sensor than other digital camera, but the sensor is PRIME LENS

not always 120mm, the size depends on the camera and manufacturer. A camera lens with a fixed focal length .

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RAW SOFTBOX
An uncompressed digital image that captures a higher amount of information A type of light modifier that diffuses light to create a softer more dispersed light.
than other file formats. It requires post-production software to process the
data into a usable image. S O L A R I S AT I O N
A photographic technique discovered by Man Ray and Lee Miller where a partially
REFLECTOR developed photograph is exposed to the light before continuing the processing
A reflective object used to change the direction of light. creating a slight negative or reversed effect on the light and shadows.

RGB TUNGSTEN

Red, Green and Blue. Each colour in the spectrum is produced using a mixture A light source using a bulb that produces a warm, orange light with a colour

of these three colours. temperature around 3200K.

RULE OF THIRDS TELEPHOTO LENS

A n c o m p o s i t i o n a l g u i d e l i n e i n p h o to g ra p h y m a d e o f t w o h o r i z o n t a l l i n e s A lens with a longer focal length than typical lenses .

and two vertical lines that create 9 equal sized boxes or multiple ‘thirds’.
TWILIGHT

SENSOR Also known as Blue Hour, the 20 minutes before sunrise and after sunset.

A sensor captures the light that passes through the lens and converts it into
UMBRELLA
electronic signals that can be processed and stored as a digital image.
A light modifier used to diffuse light.

SHUTTER SPEED
VIGNETTE
The amount of time the camera's shutter remains open to expose the camera
A darkening or brightening around the edges of an image.
sensor to light.

WHITE BALANCE
SLOW LENS
The setting of the colour temperature and colour tint on a camera or photograph.
Lenses that do not possess a wide aperture .

WIDE ANGLE LENS

SLOWER
A lens with a short focal length creating a wide angle of view.
A slower shutter speed , meaning the camera’s shutter is open for a longer time,

allowing more time to capture the light. This is often used in low light or to create
ZOOM LENS
a blurred effect with moving subjects. A lens that can change its focal length .

BACK TO CONTENTS BBC MAESTRO 133 AN INTRODUCTION TO PHOTOGRAPHY

Bibliography

Barthes, R. (Author), Howard, R. (Translator). (1993).

Camera Lucida: Reflections on Photography.
New York: Vintage Classics.

Berger, J. (2008).
Ways of Seeing.
“
I believe the best photos make
you think and feel something.
They engage your brain and your
London: Penguin Classics.
heart. Those are the images that
Cameron, B. (2021).
Cult Following: My Escape and Return to the Children of God. really excite a viewer, and those
are the ones I want to teach you
Stockholm: Manilla Press.

Cartier-Bresson, H. (2004).
The Mind’s Eye: Writings on Photography and Photographers.
to take.
New York: Aperture.

Duley, G. (2015).
One Second of Light. McCullin, D. (2015).
New York: Benway Publishing. Don McCullin: The New Definitive Edition.
London: Jonathan Cape.
Goldin, N., Heiferman, M., Holborn, M., Fletcher. S. (2012).
Nan Goldin: The Ballad of Sexual Dependency. Salinger, A. (1995).
New York: Aperture. In My Room: Teenagers in their Bedrooms.
San Francisco: Chronicle Books.
Langford, M Fox, A., Sawdon Smith, R. (2015).
Langford’s Basic Photography: The Guide for Serious Photographers, Sontag, S. (1979).
10th Edition. On Photography.
Oxford: Routledge. London: Penguin.

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